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Elementary 2.13
In which the scriptwriters are either Scorsese or Coppola fans, and Marcus Bell makes a decision.
Given that episode 2.03, the one with the Snowden character, was the only one where Elementary genuinely made me angry, I started to sweat as soon as I realised the NSA was involved in this week's plot, but thankfully a) it was only in a minor way, and b) no NSA glorification or demonization of opponents of same took place. The "Demographics Unit" plot ended quicker than I thought it would, and also not in the way I was expecting, but given Elementary did so badly with the whistleblower in 2.03, it was probably better for the now to not tackle the whole profiling of suspected terrorists abuse potential and instead let the Vice Commissioner be brought down by a good old fashioned Mafia plot.
Otoh all the scenes with Marcus Bell & Holmes, and Bell & Watson were golden. It is like Holmes to go about a winning-Bell-back campaign without admitting as much, but as opposed to some other versions (the shade of Gregory House looms large), he's not obnoxious about it. And I like how the show made Bell's competence as a detective a key part of how he returns; it's why he discovers the newly painted barrel at the start and why, no matter his issues with Holmes, he can't ignore the possibility his boss might be corrupt, and has to check it out.
Lastly: Joan having had a fascination with Mafia figures as a girl: interesting. (And in a way a parallel to teenage Sherlock developing an interest (and a correspondance) with criminals.
Given that episode 2.03, the one with the Snowden character, was the only one where Elementary genuinely made me angry, I started to sweat as soon as I realised the NSA was involved in this week's plot, but thankfully a) it was only in a minor way, and b) no NSA glorification or demonization of opponents of same took place. The "Demographics Unit" plot ended quicker than I thought it would, and also not in the way I was expecting, but given Elementary did so badly with the whistleblower in 2.03, it was probably better for the now to not tackle the whole profiling of suspected terrorists abuse potential and instead let the Vice Commissioner be brought down by a good old fashioned Mafia plot.
Otoh all the scenes with Marcus Bell & Holmes, and Bell & Watson were golden. It is like Holmes to go about a winning-Bell-back campaign without admitting as much, but as opposed to some other versions (the shade of Gregory House looms large), he's not obnoxious about it. And I like how the show made Bell's competence as a detective a key part of how he returns; it's why he discovers the newly painted barrel at the start and why, no matter his issues with Holmes, he can't ignore the possibility his boss might be corrupt, and has to check it out.
Lastly: Joan having had a fascination with Mafia figures as a girl: interesting. (And in a way a parallel to teenage Sherlock developing an interest (and a correspondance) with criminals.
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