#2: Streitgespräch unter MännernTM über „das richtige Beziehens einer Schlafstätte"
Er war ja Frank Thiel, Kriminalhauptkommissar aus Münster, und nicht der große Löffel. (Tatort Münster, Thiel/ Boerne, ca. 1k, WIP)
"BOERNE. Was soll das?" Schläfen massieren, Mirko hat mal gemeint, dass das helfen würde. Oder war das Nadeschka gewesen? Gott, er wurde alt und es war spät und er war totmüde und Boerne war… "Ziehen Sie gerade das Bett ab? Sagen Sie, spinnen Sie jetzt komplett?"
Stimme schon wirklich laut, vermutlich würden sie beide morgen bei der Vorstellungsrunde ein bisschen was zu erklären haben, aber Siezen — wenigstens das kriegten sie noch hin. Und der Wahnsinnige, was auch immer…
"Das Bett war nicht korrekt bezogen, Herr Thiel. Daher ist es nur folgerichtig…"
"FOLGERICHTIG?" Er donnerte jetzt, aber ehrlich, was war das? Versteckte Kamera? "Ich sag' IHNEN jetzt mal was FOLGERICHTIG gemacht wird: SIE beziehen jetzt das Bett und zwar SOFORT oder SIE schlafen auf dem Boden. Und kommen Sie mir nicht mit Ihrem Ischias."
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Fünf Mal schliefen Thiel und Boerne nicht in einem Bett (und einmal…)
A very special @fandomtrumpshate piece for @spacemutineer, to illustrate their incredible time-loop story The Scientist's Method. I've always wanted to do a first meeting piece, and this was the most perfect opportunity to blend this iconic scene (featuring background redrawn from the original Hutchinson illustration) with spacemutineer's wonderful words. A long time ago, I did a few bits for some of their classic 60 for 60 stories, and it was fantastic to get the opportunity to work on something together again. Truly a marvellous project and we raised $150 for LA Foodbank!
It’s so deliciously META sorry not sorry. Ich liebs einfach, wie diese Folge von einer Hörspiel-Serie von fast 50 Jahren ihr Medium SO abfeiert und eben mal richtig META mäßig in den Mittelpunkt stellt.
Das mit dem Radio und dem Verbrechen als Hörspiel in nem Hörspiel. Und das Opfer und gleichzeitig Täter ist Sprecher, Moderator und macht auch Hörbücher und Synchro. Und die Lösung ist eben im Audio-File. Die der Anführer Tim, der seit jeher vom selben Sprecher gesprochen wird, seit mehr als 45 Jahren, hört im KASETTENradio vom Vater.
Sorry. Aber ob das alles Sinn macht mit den Fall? Who cares. Love letter fürs Medium.
Und dann haut die Nachrichten auch noch Kritik an KI raus!!! Und europäische Werte. Und STABIL. Yes und das beim “Problemkind” TKKG.
Ja, Fall war Balabala. Was soll das für ein Motiv sein? Passte aber so gut in alte Krimis. Und dann machen die einen auf Miss Marple/ Sherlock Holmes am Ende und lassen alle antreten. Es war so altmodisch mit Spross und Haushälterinnen, die jeden gossip kennen, und Cocktailparty.
Ja, ein bisschen fehlt mir das TKKG Feeling. Dass es eine Jugend-Bande ist. So wie bei Folge 241. Aber mit den ganzen Geräuschen? Ein Fest! Und man konnte mitraten, Verzeihung, mithören.
Und ja, am Ende würde ich gerne mit Schalawsky klatschen. Nicht euphorisch, aber extrem anerkennend. Und so etwas, zumal nach fast 50 Jahren, krass. Ganz großes Hören!
I've been pondering since starting the conversation with @v-thinks-on why I turn so much to stage instead of TV series/ movies productions these days... and then I stumbled across the tag of @the-reading-lemon about hoping that since ACD canon is "free" canon Johnlock would be made...
and I suppose: I'm done with waiting.
Stage production have raised my expectations and my standards in equal measure: Frankly, when I don't get a "I love you, Sherlock" and "Watson, I love you too." What's the point?
When we have a Sherlock Holmes who admits to Watson that "I loved him" in reference to Moriarty, and this Watson himself is in love with Holmes and says so directly to the audience... why should I watch Young Sherlock? Because it's implied? Your show is from 2026.
I want the PoC Watson -- but not one who barely shared a scene with Holmes in Enola (3) -- but one that even sings, "I love him, never leave him".
We have the genderqueer and the trans and the gender bent Holmes and Watson and everyone in between. Rainbow lights? But please, only when there's the line "twenty years of partnership" included. We also have the aromantic bath tube scene fyi.
Why aim for the big when you'll (probably) never get it? When you have the great already here? Life is short -- I don't want to read another meta that tells me that queer is implied (baited).
Most of the silent-era Sherlock Holmes adaptations that I've seen show all the events in order, revealing the antagonist at the beginning, and not having Holmes show up until about halfway through. It can result in somewhat weird pacing, but Der Hund von Baskerville (1914) goes a step further with it and has the antagonist spend most of the movie pretending to be Holmes, which was a delightful twist on the trend
In this case, the audience knows from the start, but it got me thinking that would be a really fun trick for an adaptation to play that the stories couldn't because they're tied to Watson's perspective: Holmes shows up and seems to be doing his thing as usual, maybe there's something a little weird about him, but that's just Holmes for you. And then halfway through, a second Holmes appears and after much ado, it turns out the first Holmes was actually the antagonist in disguise!
It does rely on the audience not knowing who's playing who going into the movie, which would require a lot of intentional obfuscation for a modern high-profile movie, but I expect something lower budget could pull it off, or maybe a stage play?
A stage play could certainly pull it off, @v-thinks-on . It’s an interesting premise. Actually, I wouldn’t be surprised if it isn’t realised by now. HOUN is the most adapted canon-wise, after all.
I’ve just watched a play in which Mrs Stapelton was the culprit — playing into the „the fairer sex“ and damsel in distress archetype… and it worked amazingly well, as it‘s a twist on canon and well, Victorian (and sometimes even today’s) time aren’t very modern and feminist.
And no, not gender-bent. It was Mrs Stapelton. Her being fed up with her husband, and the society (audience) underestimating her. That was a show stopping moment, I can tell you!
(And the title: Der Hund der Baskervilles, just 2026 in Hamburg/ Germany).
I've been surprised how many Sherlock Holmes stage plays are out there. I haven't personally seen any based on The Hound of the Baskervilles yet, but I'd definitely believe there's one with that twist out there.
The version you saw with Mrs. Stapleton as the culprit sounds really cool. Especially since I feel like more modern adaptations often manage to be less feminist than the original stories because at least Doyle tried—I've read that he was a proponent of women having more rights to property and self-determination and that showed up in his writing.
Interestingly, Hammer Horror's 1959 The Hound of the Baskervilles starring Peter Cushing also had Miss Stapleton (in this version his daughter rather than wife) as a primary antagonist, but that was done more for shock and sex appeal rather than trying to say anything with it.
I suppose that HOUN is not only the most adapted canon story for film but also for stage. The two most influential and successful are the one by Canny/ Nicholson and the one by Ken Ludwig (Baskerville). The first is the one with canon Johnlock by the way. If you ever have the opportunity to watch it, don’t walk, run! It’s fun, it’s queer, and when you’re lucky you get rainbow lights on top of „I love you, Sherlock“ etc.
There’re two more Sherlock Holmes plays by Ken Ludwig who aims to become the second William Gilette (the newest beeing Moriarty which remixes SCAN, FINA, partly, EMPT).
Personally (and critically): the only versions of Ludwig’s play work when we have a female Holmes and/or Watson. And for Moriarty, when Watson is in love with Holmes (and he being an ex-lover of the Napoleon of Crime). And no, all of those are staging decisions. Kudos to the directors!
Nowadays, it’s super mainstream to have a feminist approach; I cannot recall how many twist of female! Moriarty I’ve watched so far, and it can be her being female or the daughter (Sherlock Holmes: Schwarzes Blut/ Sherlock Holmes: Im Schatten des Empires) or — just last week — the mother who wants to revenge her son (Sherlock Holmes: Tod im Nebel). Sometimes it’s Irene Adler who turns out to be Moriarty (sometimes with a love story). Oh, and Irene Adler and her sister Alice as a nod to Gilette (Moriarty). The play I’ve mentioned of an evil Mrs Stepelton had a female Dr Mortimor too.
And it’s advertised as such, my personal favorite of last year, Ein Skandal, focussed on a modern Irene Adler (while I obviously enjoyed the original music the most, including the iconic line „I love him so, never leave him“ by Watson about Holmes). It’s a pastiche which is inspired by MILV and SCAN.
Alas, I’m no expert. I’ve only seen maybe +30 plays in over a decade. And that’s nothing in regards of Sherlock Holmes on Stage.
Watson's first surviving appearance in film to my knowledge is in Der Hund von Baskerville (1914), where he gets a 2 minute cameo in an hour-long movie—but what a cameo it is!
Apparently someone wanted to show off some effects because Holmes summons Watson via an electronic message system that only shows up in this one scene, and Watson gets down into the sitting room via a secret elevator instead of just taking the stairs. Not to mention that this Watson looks like the epitome of a 19th century German doctor.
The bright yellow tinting was apparently in the instructions on the film itself, which seems to have been a fairly common practice at the time; using different colors to emphasize different lighting in different locations
The translation/ subtitles are wrong: it says in German:
Come to me, Watson.
And in a personal way of addressing too. Nowadays, Sherlock Holmes dub AND sub never use it because it’s too intimate. And yes, that includes 21st century settings like BBC SHERLOCK. Siezlock is a thing — unless it’s 1914.
Watson's first surviving appearance in film to my knowledge is in Der Hund von Baskerville (1914), where he gets a 2 minute cameo in an hour-long movie—but what a cameo it is!
Apparently someone wanted to show off some effects because Holmes summons Watson via an electronic message system that only shows up in this one scene, and Watson gets down into the sitting room via a secret elevator instead of just taking the stairs. Not to mention that this Watson looks like the epitome of a 19th century German doctor.
The bright yellow tinting was apparently in the instructions on the film itself, which seems to have been a fairly common practice at the time; using different colors to emphasize different lighting in different locations
The translation/ subtitles are wrong: it says in German:
Come to me, Watson.
And in a personal way of addressing too. Nowadays, Sherlock Holmes dub AND sub never use it because it’s too intimate. And yes, that includes 21st century settings like BBC SHERLOCK. Siezlock is a thing — unless it’s 1914.
Watson's first surviving appearance in film to my knowledge is in Der Hund von Baskerville (1914), where he gets a 2 minute cameo in an hour-long movie—but what a cameo it is!
Apparently someone wanted to show off some effects because Holmes summons Watson via an electronic message system that only shows up in this one scene, and Watson gets down into the sitting room via a secret elevator instead of just taking the stairs. Not to mention that this Watson looks like the epitome of a 19th century German doctor.
The bright yellow tinting was apparently in the instructions on the film itself, which seems to have been a fairly common practice at the time; using different colors to emphasize different lighting in different locations
Höre gerade wieder die cross-dressing Episode von TKKG. Also diejenige, in der sich der Verdächtige als Frau verkleidet — und Klößchen sich schockverliebt. Und es ist die gleiche Stimme, wie in der Gruselvilla — nur, dass er jetzt von Mini-Rock spricht, den er lieber hätte wählen sollen.
Leute, man verändert nur ein Stück, damit es besser wird… nicht, sodass es schlechter wird.
Habe mir jetzt die Bühnenfassung von Sherlock Holmes: Tod im Nebel organisiert… und da ist keine Hinrichtungsszene drin. Die gibt’s nicht. Und Lestrade ist auch kein Ehebrecher und Kinderschänder. Warum einbauen??? Regie feuern.
Und die Fassung von 2024 hat auch tolle Musical-Einlagen? Und bisexual Set Design? Und Rise Like A Phoenix?
Und ja, Holmes ist immer noch Gott. Dafür wenigstens nicht auf Tisch liegend und wir quengelndes Kind, dass angeblich aber alles weiß — und jedes Kind es früher versteht.
I watched Sherlock Holmes: Tod im Nebel, a play by Jürgen von Bülow, inspired by Arthur Conan Doyle, in an open air theatre near Hannover (Germany).
Let’s start with the positive things: the theatre is lovely, a community one which exists since 1970. And there were so many volunteers, and home-baked cakes and local products like ice cream and lemonade, they made a barbecue. Many cycled there. The weather was a dream.
The play was not. Kudos for writing a pastiche and even getting it staged (and apparently more open air festivals interested in it) but it’s bad.
The plot is stupid (and illogical and over-done). The characters are unlikable (and this includes Holmes AND Watson). And what’s the point of it all anyway? Don’t get me started on the sexism.
The play starts with an execution: James Moriarty. And in the crowd are Sherlock Holmes and Miss Watson, as well as the mother and three women who you can easily identify as prostitutes — unless you are Sherlock Holmes.
Who compares himself, no, declares himself as GOD. In Baker Street — which we must assume because it’s just a wooden table and two chairs, that are transformed into a theatre/ Bordell too (don’t ask).
That Holmes is a narcissistic child-like Bad-behaving cat. Everything is about him, as he’s repeating constantly in exact that words. Partly, he’s lying on the table, or standing on it. Not in a Benedict Cumberbatch way. Just in a: you’re not Sherlock Holmes way.
Watson or Miss Watson or Dr Watson and sometimes she — because we cannot decide but not in a queer and gender way. She’s there, and flirting with a woman, and then she’s a man. Oh, and Sherlock Holmes is a good man — she said so, repeatedly, and the actress found it so funny (because it can only be a joke) so she’s giggling.
We don’t know if we want to present a mystery (which the audience knows beside the oh-so-smart villain tells us, and the oh-so-smart Sherlock Holmes never deduces on stage), or a comedy (Lestrade is so funny, in particular, as a sex offender and rapist), or a drama (I want to delete the subplot from my memory).
It’s bad.
And when a girl, maybe aged 8, tells afterwards that the murder plot doesn’t make sense… then you fucked up bad.
The only interesting part was the anonymous assistant of Moriarty 2.0 — is he the real one? Or the new one? Or the secret lover of him? But that was certainly unintended and kudos to that actor (and that actor only).
To sum it up: lovely summer day, don’t watch that play (and don’t stage it unless you really rework it. Or as someone put: cut the first 40 minutes, make it 10). No, really get a director, a female at best, and then decide: proper set design or post-modern. Explain the characteristics and relationship arcs with your cast (spoiler: the MOST het doesn’t work like that). Ask yourself: is it really a mystery?
If I had a nickel for every Sherlock Holmes play that starts with an execution (of Moriarty) it wouldn’t be much. But it’s strange that it happened twice already — in under two weeks!
