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Alicia Wang
Professor Lynda Haas
Writing 39B
21 May 2014
Bromance
From day one, students have been exposed to the idea of genre theory and the four
stages of genre development. Genre theory is the argument that all genres go through a
period of multiple stages. These stages include the primitive, classical, parodic, and
revisionist. Primitive is the beginning stage of the genre. Classical stage is when the
genre gains a reputation and at its highest demand. Parodic is when the genre is so well
known that it is used in satire. Revisionist is when the genre has changed the original
conventions of the genre during the classical stage and brought something different to the
old conventions. In the detective genre, Conan Doyle was in the classical stage while
BBCs Sherlock and Guy Ritchies Sherlock Holmes are both in the revisionist stage.
BBCs Sherlock is based on the original Sherlock and Watson story but the twist
is the setting is in 21
st
century London, and was created and written by Stephen Moffatt
and Mark Gatiss. Guy Ritchie directed an American movie version of the classic
conventions of Sherlock Holmes and called it Sherlock Holmes: A Game of Shadows.
Despite the genres development, the main goal of the mystery genre remains the
same. George N. Dove, the author of The Reader and the Detective Story says, Four
qualities of the tale of literary detection set it apart, in the opinion of critics past and
present, from other popular fiction: the detective story is transitory, without long-range
goals or purposes; it is fundamentally an intellectual undertaking; it is recreational,
intended primarily to relax; and it is a disciplined, delimited literary form (2). Dove says
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the detective genre is made for pleasure reading and to entertain the reader. Dove later on
talks about the detective stories were created with a specific set of rules the writer could
follow while creating a way for the audience to relax and experience a mental game.
During Conan Doyles era, he incorporated the surrounding environment of
Britain during the 1900s into his stories, and reflected the audience and time period.
Kirby Farrell, author of Heroism, Culture, and Dread in The Sign of Four wrote,
wittingly or not, it (The Sign of the Four) provides clues to the meanings of its
(Britain) own addictive illusions (48). Farrells essay was about Conan Doyles
stories reflecting the audiences mindset and beliefs based on the four addictions Britain
and its people were going through. During the revisionist stage, BBCs Sherlock and
Ritchies Sherlock Holmes have similar conventions but these conventions are changed to
fit the needs of todays audience. These changes in the conventions are apparent in the
show and in the movie. For example, the convention of the relationship between Sherlock
and Watson has changed in the revisionist stage. In the original stories, Sherlock and
Watson had a very close friendship but in the BBC version of Sherlock, the two
characters are portrayed to have subtle hints at being gay for one another. In the Jim
Ritchies version of the two characters, the strong friendship aspect is brought back. All
three versions of Sherlock and Holmes are incredibly popular and this specific
convention has grown to be more explicit in the TV show Sherlock but not as explicit in
the Doyle stories or in the movie version of Sherlock and Watson.
In the Conan Doyle stories, the idea of any other sexuality for Watson and
Holmes was unimaginable. Conan Doyles stories were written for a 19
th
century
audience. In the 21
st
century, people are more willing to accept and be open to the
thought of Sherlock and Watson being any type of sexuality. In the book, TV series, and
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movie, Watson gets married to a woman named Mary Marget; however, in the TV series,
Watson is used as a gag joke about being gay. Sherlock on the other hand is socially
awkward in all of the Sherlock texts; this allowed the BBC writers to be a bit more open
with the possibilities of Sherlocks sexuality. In the BBC television series, the writers are
bolder as to hint at Sherlock and Watsons possibly gay relationship since Sherlock holds
Watson as the most important person in Sherlocks life.
Lynnette Porter wrote Essays on New Adaptations, which is a book with series of
essays based on the revisionist conventions from BBCs Sherlock and Guy Ritchies
Sherlock Holmes. Porter begins chapter one with, The BBCs Sherlock (2010-present)
makes no attempt to hide the potential homoeroticism innate in the relationship between
Holmes and Watson; gay references constitute a running gag throughout the first and
second seasons (13). Porter makes the point of the TV shows constant hint at
homosexuality based on the actors and characters lines and the way the director films the
scenes that hint at Sherlock and Watsons homosexuality. An example is the fact that
when Moriarty is first introduced, Sherlock deduces that Moriarty is gay based on how he
is dressed but also the fact that Moriarty was wearing a well known brand of underwear
for gay men. If we think about this critically, Sherlock has knowledge of underwear for
gay men, but Sherlock does not know about the solar system. We can then infer Sherlock
finds knowledge about underwear for gay men more important than knowledge on the
solar system.
Another example, in Season 1 Episode 2, Sherlock and Watson are trying to find
the murderer at a Chinese circus. Sherlock said he and Watson would go out that night
but Watson says he cant go because he has a date. Sherlock asks what a date is and
Watson replies its when two people who like each other go out. Sherlock comments and
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says that is what he suggested but Watson counters with no at least I hope not. The
dialogue between the two is a gag for comedic purposes but in the next scene after
Watson receives the circus tickets and takes his date, Sarah, to the circus, Sherlock
interrupts the date.
The scene focuses on Sherlock and Watson and how Sherlock tells Watson it is
more important for the two to investigate the area rather than Watson to have his date.
Sherlock does not think Watsons date is of any importance and in fact Sherlock asks
why Watson cannot just leave Sarah to go on and help him in the scene. Sherlock and
Watson are talking on a staircase, which shows Sherlock as above Watson because
Sherlock is on a higher step than Watson. The character placement in this scene makes
Sherlock seem bigger in the frame than Watson. Sherlocks appearance size compared to
Watson exhibits to the audience how Sherlock deems the relationship he has with
Watson. The audience gets the feeling that Watson just follows Sherlock around and
Sherlock is the lead in the relationship between the two also because Sherlock has just
barged into Watsons date, preventing Watson from possibly gaining a heterosexual
relationship. The scene is also set from a high angle, which looks down on the characters
but looks down even more on Watson than on Sherlock. The idea of this high angle
causes Sherlock to look less vulnerable than Watson who in this frame we are hinted at
that Sherlock is the lead in the relationship between the two. Sherlocks face has more
shadow than light in the scene suggesting a mysterious aura for Sherlocks sexuality.
Johns face; however, is filled with light so we can easily see his face and his expressions
hinting at the assumption of knowing Watsons sexuality but not Sherlocks. During the
frame, the moment Watson says he wants to get with Sarah, the audience hears a comedic
drum beat as if the conclusion where Watson is in a relationship is humorous. There is no
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music in the background but the comedic drumbeat could symbolize the gag of Watson
having a close relationship with anyone other than Sherlock.
In Guy Ritchies Sherlock Holmes: A Game of Shadows, Lynnette Porter wrote
about the masculine bromance relationship between Sherlock and Watson. Porter says,
The concept of the bromance understandably resonates with Sherlock Holmes and can
even be determined as drawing from the influence of Conan Doyles own Holmes and
Watson, the original odd couple alternately fighting for justice and Empire while together
living outside the confines of ordinary existence (38). Porter reflects on the movie and
how the concept of bromance as a convention of the original Sherlock Holmes resonates
in the movie.
In Guy Ritchies interpretation of Sherlock Holmes, Watson and Mary are
attacked on the train by a group of killers sent by Moriarty. Sherlock comes to the rescue
by disguising as a woman passenger on the train. This scene shows an extreme amount
of masculine bromance because Sherlock and Watson shoot down a large number of men.
Sherlock and Watson go through a series of gunshots and climb the side of a moving train
to avoid enemy fire. The entire time this happens, the music is very dramatic and moves
quickly. The music adds suspense but the act of scaling the train brings out the
masculinity of both characters but Watsons willingness to follow his very good friend on
an adventure that involves dangerously climbing a moving train. The camera then goes to
high angle with an omniscient point of view. In omniscient point of view we see a group
of characters and understand the feelings and emotions of both characters. This point of
view and camera angle allows the viewer to see all the emotion on both characters so we
see Watsons willingness to go into dangerous situations with Sherlock but also
Sherlocks willingness to not only disguise as a lady but to risk his life to save his best
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friend. Throughout most of the scene we see the two characters on eye level. When we
have two characters in eye level we understand that they are both equal to each other. The
bromance requires two characters in equal standing with one another. In the movie,
Watson is also a lot more masculine, strong, and witty than in the books or in the TV
series. The equal relationship in masculinity between the two emphasizes Watson as the
perfect English gentleman but also shows what Watson lacks in intelligence, he makes up
with strength and skill in combat. The two are see more as equals than anything else in
the movie so we come to understand their relationship as brothers than as lovers.
As we compared the revisionist era of Sherlock and Watson and the original
Conan Doyles Sherlock and Watson relationship, we cannot argue the two characters are
very close. In Conan Doyles Sherlock and Guy Ritchies Sherlock, both texts were set in
Victorian times and both portrayed the relationship as a bromance than an actual
romance. In the BBC television series, the setting is in modern day London and the subtle
hints at a homosexual relationship is more prominent. The setting made a difference for
how the writers interpreted the partnership between the two main characters. It is likely
the reason for the difference between the movies, TV series, and the books is because the
audience is catered toward a certain expectation of how the two would be portrayed.







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Works Cited

Conan Doyle, Arthur. The Sign of the Four. Seattle: Amazon Digital Services, 2013.
Kindle eBook. Online.
Dove, George N. The Reader and the Detective Story. Bowling Green, OH: Bowling
Green State University Popular Press, 1997. Print.
Gatiss, Mark, Steven Moffat, and Stephen Thompson. "Sherlock: The Blind
Banker." Sherlock. BBC Wales. 1 Aug. 2010. Television.
Keep, Christopher and Don Randall. Addiction, Empire, and Narrative in Arthur
Conan Doyles The Sign of Four. NOVEL: A Forum on Fiction 32:2 (1999):
207-221. JSTOR. Web. 01/15/2014.
Porter, Lynnette R. "The Noble Bachelor and the Crooked Man." Sherlock Holmes for
the 21st Century: Essays on New Adaptations. Jefferson, NC: McFarland, 2012.
N. pag. Print.
Porter, Lynnette R. ""Bromance Is so Passe"" Sherlock Holmes for the 21st Century:
Essays on New Adaptations. Jefferson, NC: McFarland, 2012. N. pag. Print.
Sherlock Holmes: A Game of Shadows. Dir. Kieran Mulroney and Michele Mulroney.
Perf. Robert Downey Jr., Jude Law, Jared Harris, Rachel McAdams. 2011.





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