A socially and economically polarized London in
BBC One’s Sherlock and Luther.
MA Thesis
Student: Megan Kerber.
Student number: 10123539
Course: MA Media Studies: Television and Cross-Media Cultures,
University of Amsterdam.
Supervisor:
prof. dr. C.P. Lindner.
Second reader: dhr. dr. S. Dasgupta.
Date: 13-06-2014.
Introduction...5
Chapter one – Seeing a Polarized London...10
1.1.City elements...11 1.1.1. Paths...12 1.1.2. Edges...17 1.1.3. Districts...19 1.1.4. Nodes...21 1.1.5. Landmarks...24 1.2. Theme’s...26
1.3. City Elements commentary on London...30
Chapter two – Sherlock, the London flâneur...34
2.1. Identifying the flâneur in Sherlock...36
2.1.1. Physiologies...36
2.1.2. The detective story...38
2.1.3. Urbanization...40
2.1.4. Gender...41
2.2. Sherlock’s flânerie commentary on London...43
Chapter three – Luther, a blasé...46
3.1. The blasé attitude...47
3.1.1. Inner conflict and dualities...48
3.1.2. Mental dullness...51
3.1.3. Emotional distance...57
3.2. Luther, the blasé commentary on London...59
Conclusion...64
List of figures Figure. (page)
1. Luther walking to suspect through a housing estate at night, taken from season one, episode two. (13)
2. Sherlock chasing a suspect through London, taken from season two, episode three. (13) 3. Luther at a crime scene, taken from season two, episode one. (14)
4. idem.
5. Luther at a crime scene, taken from season one, episode one. (15)
6. Sherlock’s visualization of his location and the suspect’s in London, taken from season one, episode one. (15)
7. Sherlock visualizing the London tube map, taken from season three, episode one. (16) 8. Sherlock and Watson passing Big Ben en route to the tube, taken from season three, episode three. (17)
9. People in Luther witnessing a crime outside the petrol station, taken from season two, episode three. (18)
10. Mary in Luther seeing a murderer, taken from season three, episode two. (18)
11. Big Ben and the London Eye reflected in a taxi window in Sherlock, taken from season three, episode three. (19)
12. A council estate that is housing a murder suspect in Luther, taken from season three, episode two. (20)
13. A body found on an estate in Luther, taken from season one, episode four. (20) 14. Sherlock’s clients publicly thanking him, taken from season two, episode three. (21) 15. Street in Sherlock to confront a suspect, taken from season three, episode three. (21) 16. Police aiming at a suspect in Luther, taken from season one, episode six. (22)
17. Murderer aiming at police in Luther, taken from season one, episode two. (22)
18. Sherlock and Watson observing as they sit on a bench, taken from season three, episode two. (23)
19. Sherlock and Watson observing suspect from a restaurant, taken from season one, episode one. (23)
20. An aerial view of the Tower of London in Sherlock, taken from season two, episode three. (24)
21. Sherlock sitting in Buckingham Palace, taken from season two, episode one. (25) 22. One of The Queens Guard in Sherlock who is later killed, taken from season three, episode two. (25)
23. Faint depiction of the London Eye in Luther, taken from season one, episode one. (26) 24. Faint depiction of the London Eye in Luther, taken from season one, episode six. (26) 25. Stock shot aerial view of London taken from Luther. (28)
26. A view upwards from a poor neighborhood in Luther, taken from season two, episode two. (28)
27. View of London from an estate balcony in Luther, taken from season three, episode two. (28)
28. Sherlock and Watson exiting the squatters’ house, taken from season three, episode one. (29)
29. The exterior of a squatters house in Sherlock, taken from season three, episode one. (29)
30. Luther overlooking London, taken from the opening title sequence. (31) 31. idem.
32. View of the Old Bailey and “The Gherkin” taken from Sherlock opening title sequences of season three. (32)
33. View of Big Ben and St. Paul’s Cathedral taken from Sherlock opening title sequences of season three. (32)
34. View of the London Eye, Big Ben, House of Parliament, Westminster Abbey, and the Golden Jubilee Bridge, taken from the opening title sequences of seasons one, two, and three of Sherlock.
35. Overhead view of how Sherlock attempted to fake his own death, taken from season three, episode one. (37)
36. Reports receiving text message from Sherlock, taken from season one, episode one. (39) 37. Chief Inspector Lestrade receiving a text message from Sherlock, taken from season one, episode one. (39)
38. Visualization of Sherlock’s thoughts, taken from season one, episode one. (40) 39. Sherlock firing a gun out of boredom at a wall in his house, taken from season one, episode three. (44)
40. Luther interrogating Alice over her parents murder before releasing her, taken from season one, episode one. (49)
41. Luther and Alice displaying fondness for each other, taken from season three, episode four. (49)
42. Luther looking down at Henry Madsen, before letting him fall, taken from season one, episode one. (50)
43. Alice murdering Henry Madsen in Luther, taken from season one, episode four. (50) 44. Luther at the police department looking at evidence, taken from season one, episode one. (52)
45. Luther in the interrogation room, taken from season one, episode one. (52)
46. View of London shrouded in grey in Luther, taken from season one, episode three. (52) 47. Luther wearing his default suit, taken from season season three, episode three. (53) 48. Luther’s wardrobe rack, taken from season three, episode two. (53)
49. Luther kicking in a door after learning his wife has been sleeping with another man, taken from season one, episode one. (54)
50. Luther talking to an inmate with a red sign in the background, taken from season one, episode two. (54)
51. Red brick building in the background whilst Luther is on the phone, taken from season one, episode one. (55)
52. Red sticker on the wall in Luther’s police department, taken from season one, episode one. (55)
53. Luther wearing a solid red tie, taken from season three, episode three. (55)
54. Luther wearing a red tie with yellow specs, taken from season one, episode two. (56) 55. Luther wearing a patterned tie that incorporates red, taken from season one, episode four. (56)
56. Luther at a distance from London, taken from the opening title sequence. (58)
57. Luther placing his wedding ring in a donation box at a church, taken from season one, episode five. (58)
58. Luther in an otherwise empty car park, taken from season two, episode one. (61) 59. Luther approaching an old factory, taken from season two, episode three. (61)
60. Luther playing Russian roulette, leaving his life up to chance, taken from season two, episode one. (62)
61. Union jack cushion of Sherlock’s chair, taken from season one, episode one. (66) 62. Sherlock’s baroque wallpaper, taken from season one, episode one. (66)
63. The Green Child (1948) on a victim’s nightstand in Luther, taken from season one, episode one. (67)
64. First sight of Sherlock’s face, taken from season one, episode one. (68) 65. First sight of Luther’s face, taken from season one, episode one. (68)
66. Luther getting out of his grey Volvo at a crime scene, taken from season two, episode four. (70)
Introduction
This thesis will revolve around two BBC One television programs, those being Sherlock (2010-2014) and Luther (2010-2014). Before outlining the structure of the thesis I will provide a brief synopsis of each program in order to create an awareness of what each of them entails. The first program I will provide an insight into is
Sherlock. As the title of program suggests, it is based on the Sherlock Holmes stories written by Sir Arthur Conan Doyle in the late nineteenth and early twentieth century. BBC One however, have given Doyle’s Sherlock a modern day revamp by setting it in millennial London, as well as allowing Sherlock to use modern day digital and technological amenities such as a mobile phone, laptop, GPS, and even his own website, The Science of Deduction. Consequently, the BBC has named it a “thrilling, funny, and fast-paced contemporary reimagining of Arthur Conan Doyle’s classic” (“Sherlock”).
Despite this adaptation, Sherlock incorporates several of the aspects from the classic Sherlock Holmes stories. Not only do the programs’ episodes carry the same titles as the stories (including A Study in Pink and A Scandal in Belgravia), the storylines also bare resemble to that of Sir Arthur Conan Doyle’s stories. Additionally, the BBC’s Sherlock also includes Sherlock’s detective status, doctor John Watson as his
sidekick, Mrs. Hudson as his land lady, the 221b Baker Street address, and of course the city of London, even though Sherlock predominantly keeps to the affluent city of Westminster when solving his mysteries.
Luther, also a BBC One program revolves around Detective Chief Inspector John Luther, or more commonly referred to as Luther. The BBC describes Luther “as a near genius murder detective” (“Luther”). The crime scenes Luther is called to are quite horrific, ranging from his fellow officers and wife being shot, to an attempt to dissolve children in acid. Luther does not often tread Westminster like Sherlock, instead he mostly keeps to the east of London, and when he is the center of the city you would not know as landmarks can scarcely be seen. Luther often works alone, but does at times rely on Detective Sergeant Justin Ripley for help, as Justin’s loyalty to Luther is insurmountable.
Both Luther and Sherlock appear different from each other in terms of atmosphere and tone. Yet, when taking a second look, both programs share several similarities, giving both these programs a strong foundation of which they can be compared and contrasted. Firstly, there are some basic aspects they have in common, aspects that can be constituted when reading factual information about both programs. This information includes the fact that BBC One made and aired both programs between 2010 and 2014, and that both programs are centered on crime solving males, whose names are also the titles of the programs. Moreover, both Luther and Sherlock are comprised out of three seasons.
When watching both programs, another set of similarities can be noted; those being that both protagonists struggle with the relationships in their lives. Sherlock often lacks social graces and has difficulty expressing his care and affection. Luther, despite his ruthlessness, and at times cold attitude, tries to win the affections of the women in his life, but always prioritizes his job. The latter, is a quality both men share as their lives are consumed by their work; and as a result, their personal lives are never separate from the crimes they solve.
Even though both programs share similarities that make them strong comparable candidates, they display one large opposing factor, which makes both programs even more interesting to compare, and is also the root and focus of this thesis. This
contrast concerns their main common denominator, London. As previously
mentioned, both programs are set in London, yet the atmosphere of the city in both programs could not be more different. Where Sherlock mostly keeps to areas that suggest wealth, pride, and affluence, Luther is often surrounded by a London that insinuates a lack of all those terms. Therefore, this thesis will argue that the London Luther displays emphasizes a socially and economically disadvantaged side of the city, and Sherlock, in contrast, emphasizes the socially and economically advantaged side of the city. For this reason this thesis’ research question is as follows: how, and with what result, do Sherlock and Luther emphasize a socially and economically polarized London?
Before explaining how my thesis will go on to answer the research question, I will clarify certain terms used in the question in order to avoid confusion and to express the meaning of these terms in the context of this thesis. The first terms I will clarify are “socially” and “economically”. Both terms have many connotations, as well as various interpretations. I, however, will be using these terms in a simple sense. When referring to “socially” I refer to the way in which society is organized, in the context of this thesis this term will therefore indicate the manner in which groups in society are organized in the city. “Economically” will refer to the way in which wealth is
distributed in the city and can be noted from lifestyles of those observed in each program.
The last term I will elaborate on is “emphasize”, the reason for this is motivated by the following observation by Bridge and Watson, that being that there is “long western tradition of representing cities as both dystopia or hell, and utopia and heaven” (2010). This thesis will not follow such an extreme binary pursuit, as both program’s used in this thesis at times do reflect aspects of each others London in their own. Therefore, emphasizing a polarization in the city is very apt as I will argue that both program do indeed emphasize certain interpretations of London, but also that I acknowledge that each program in neither just a dystopia and hell, or utopia and heaven.
The research question that is made up of all these terms will be answered through three chapters, each using either one, or two key texts as its theoretical framework, and several others to facilitate this framework. These three chapters will also
incorporate various stills from each program. Reason being, is that the examples used to support my argumentation are visual, thus by providing depictions of these examples I will be ably to fully convey my line of argumentation.
The first chapter will analyze the manner in which the physical aspects of London appear in both Luther and Sherlock, and how these elements of the city contribute to the perception and experience of London, in doing so this first chapter will be
comparative in nature. In order to create this comparison I will use The Image of the City (1960) written by urban planner and author Kevin Lynch, whose research
I will inversely do what Mitchell (2002) states about architecture, this being that is it “the impurest medium of all, incorporates all the other arts in a Gesamtkunstwerk and typically it is not even “looked at” with any concentrated attention, but is perceived.” The justification of using Lynch (1960) as a theoretical framework is that it gives an account of cognitive mapping, a notion that pays attention to the perceptions that citizens have of their city. More specifically, Lynch does this by looking at the various ways in which citizens conceptualized their city using the physical attributes that can be studied and classified into five types of elements, those being: paths, nodes, edges, districts and landmarks. It is these aspects that will be compared and analyzed in both Luther and Sherlock in order to illustrate how each program
emphasizes a socially and economically polarization in London. However, The Image of the City was written over 50 years ago, thus I will elaborate on these elements by suggesting new ways in which they can be perceived.
The second and third chapters of this thesis break away from the direct comparative structure of chapter one. Instead, chapters two and three will solely concentrate on one of the protagonists, Luther or Sherlock. In doing so, chapters two and three will explore either the socially and economically advantaged or disadvantaged
interpretation of London through either protagonists. In other words, each chapter will give an elaborate analysis of an interpretation of London through the protagonist. In doing so, the analytical focus shifts from how the city shapes the experience of the character, to how the character uses the city to express his experience of it. These chapters will use works by Walter Benjamin (1997) and Georg Simmel (2002 & 2005) as theoretical frameworks. Briefly clarifying the motivation for using Benjamin and Simmel for these chapters is that both were early theorists concerning the
relationship between a city and the mental life (Bridge, Watson 2010), and therefore key when making a statement that revolves around this relationship like my thesis is. More specifically, chapter two considers how Sherlock explores London and his attitude towards the city. This chapter will argue that Sherlock’s character and how he maneuvers through, and experiences London is in accordance with that of the flâneur. This urban concept and literary figure of the flâneur that will be used to
chapter, that being “The Paris of the Second Empire in Baudelaire” written by Walter Benjamin in 1935 and compiled with other essays under the title Charles Baudelaire: a Lyric Poet in the Era of High Capitalism (1997) from which the key text was also taken.
In this essay, Benjamin considers the social and cultural history of Paris in the late nineteenth century through Charles Baudelaire’s poetry. What motivates the choice to use this text as the theoretical foundation of this second chapter, is that Benjamin traces the development of the flâneur figure throughout Baudelaire’s work who was one of the first to characterize the flâneur. In doing so, Benjamin also touches on various aspects of the flâneur that can also be found in Sherlock’s persona. These findings will then be put into context concerning how they contribute to the emphasis on London as a socially and economically polarized city.
The third and last chapter of this thesis will apply the analytical focus to the character of Luther, also concentrating on the relationship this protagonist has with London. This chapter, unlike the previous two will make use of two texts by the same author as the theoretical foundation. These texts are the essay “The Metropolis and Mental Life” (2002) and The Philosophy of Money (2005) by social philosopher Georg Simmel. In these works Simmel outlines the blasé attitude, which he describes as a psychological apparatus of the modern urbanite. This chapter will argue that it is this blasé attitude that constitutes Luther’s character and his relationship with London; similar to how Sherlock can be viewed as the flâneur. Again, the result of this analysis will be discussed in relation to an emphasis on a socially and economically polarized London.
Taking these three chapters into account the conclusion of this thesis will ultimately not only reflect the analytical findings from the previous chapters, but also indicate the extent to which this emphasis on a polarized London can be observed when watching Luther and Sherlock. In doing so, this thesis will confirm that the ideologies of each program concerning a socially and economically polarized London are expressed through both physical city elements as well as characterization. Finally, the conclusion of this thesis will consider what the findings of this thesis ultimately
Chapter one – Seeing a Polarized London
As mentioned in the introduction, when considering how Luther and Sherlock depict a socially and economically polarized London a close look at their common
denominator, which are the streets they walk, the buildings they pass, and the places they go, is required. That is to say, the physical elements of London are their
common denominator. This consideration is essential to understanding how London appears polarized when comparing physical elements in both programs. More specifically, this chapter will consider the manner in which London appears in both programs, as well as how it is perceived and experienced by both protagonists. Moreover, how the relationship that both male characters have with the city is reflected and reproduced through the depictions of London in each program. The relevance of this chapter lies in the observation that both men live and work in the same city, make use of the same infrastructure, and yet appear to be worlds away from each other.
This chapter will therefore be comparative in nature in order to get to the root of how London as a dual city is created and experienced when analyzing both programs depictions, and perceptions of London. Susan Fainstein, along side Ian Gordon, and Michael Harloe, state that this notion of a dual city suggests segregation of social class and economic well-being is present in the city. With this comparative chapter I aim to make a strong case for the visualization of London as polarized city. This chapter will therefore aim to highlight on which side each program places an emphasis.
The framework I will be referring to is called cognitive mapping. In a general sense, cognitive mapping refers to how the mind gains, stores and decodes spatial
knowledge, for a real and physical space, as well as metaphorical space (Kitchin, 1994). Behavioral psychologist Edward Tolman introduced cognitive mapping in 1948, after performing experiments in which rats were taught how to escape from mazes (Tolman, 1948). This chapter, however, will be using cognitive mapping in terms of Kevin Lynch and his key work The Image of the City (1960). What sets Lynch’s account of cognitive mapping apart from Tolman’s experiment is that Lynch
pays attention to the perceptions the citizens have of their city through their experiences of it.
More specifically, Lynch does this by looking at the various ways in which citizens conceptualize their city using the physical attributes that can be studied and
classified into five types of elements, those being: paths, nodes, edges, districts and landmarks. This interpretation of cognitive mapping can be considered the way in which the urban imaginary works. To expand, an urban imaginary marks the way city inhabitants imagine their city as the place of everyday life (Huyssen 2008). Both concepts are frameworks used to see cities, but cognitive mapping is the how the urban imaginary comes to exist.
Before continuing to explain how these elements will be used, and why, I will provide a brief overview of what these terms mean in relation to cognitive mapping. Later, when these elements are considered in their own right, a more in depth account of them will follow.
1.1. City elements
The paths of a city, according to Lynch (1960) refer to the channels along which the citizen usually moves. This includes “streets, walkways, transit lines, canals and railroads”. These paths tend to form the predominant image of how they perceive their city (47). Edges, however, are linear elements that are not considered as paths by the citizen. They act as boundaries between two phases, for example, by breaking continuity in a railroad. Walls and barriers that one can still penetrate, but
nonetheless section a region off from another is also a clear example (47).
Districts, however, are more noticeable, they are sections of the city that the citizen can enter and observe a common identifying character (47). A clear example of a district is a housing project that encompasses similar architecture, or a neighborhood that uses a certain palette of colors, details, and planting (104). Nodes are the points to which a citizen can travel. These could be junctions or breaks in transportation. Or they could be a condensation of some use or physical character. Examples of nodes include street corners, squares, or even a landmark. These nodes often also act as symbol of the district in which they lie (48).
Lastly and perhaps the most simple of elements, is the landmark. A landmark is usually defined as a physical object like a building, shop or mountain, and similar to a node can be point of reference (82).
The way in which this chapter will make use of these elements is by comparing them as they appear in both Luther and Sherlock throughout various episodes. But also how both protagonists experience London through these elements. By drawing focused comparisons concerning the same elements, this chapter will illustrate how both programs together create a polarized London. Considering Lynch’s The Image of the City was written over fifty years ago, and was not strictly intended for television analysis, this chapter will also attempt to elaborate on some of elements and suggest new ways in which they can be applied. This chapter will then continue to discuss various themes that come to light when applying elements to both programs and how they contribute to seeing a polarized city when watching Luther and Sherlock. Lastly, the commentary that these city elements deliver on a polarized London will be
explored. 1.1.1. Paths
As briefly touched on earlier, the paths of a city refer to the channels along which the citizen usually moves, and in this case those citizens are Luther and Sherlock. The paths include streets, walkways, transit lines, canals and railroads (47). This segment will consider not only the aesthetics of the paths, but also what the protagonists encounter along them, both contributing to their individual perception of London. The first pair of paths I would like to compare are both featured when Luther and Sherlock are in pursuit of a suspect at night. Figure 1 shows Luther walking alone at night to a location where he is certain to find the suspect he is looking for. Figure 2 shows Sherlock attempting to chase after the suspect during this episode.
Figure 1 – Luther walking to suspect.
Figure 2 – Sherlock chasing suspect.
What becomes evident when looking at both images is that the paths in each shot, despite both being clearly set in urban settings, exude opposing atmospheres. In figure 1 Luther is surrounded by concrete structures exhibiting little architectural refinement or warmth. There is also no light coming from within the structures and the light that can be seen is functional street lighting. In figure 2, however, Sherlock is also surrounded by structures, but also by trees. Moreover, the light we see in figure 2 comes not only from streetlights, but also from a taxi, from within one of the
structures, and the lit up trees. Hence, what can be highlighted in both figures is the sense of pride, and lack thereof.
To elaborate, Luther’s path in figure 1 has nothing to suggest pride of the path, in fact precisely the opposite, there are no lights drawing attention to anything on his path, just light to prevent people from tripping over in the dark, so to speak. Sherlock’s’ path however, draws attention to the trees and buildings at night. In addition, the lit
up trees, and the purple light on the street can hardly be described as neither functional nor necessary.
What I am arguing this suggests is that the paths Luther walks are merely functional, and are not celebrations of his city. Sherlock, however, can observe decoration along his paths, and where there is decoration, there is abundance, and Sherlock’s London can afford to have trees lit up all night. Whereas Luther’s London cannot even decorate with frivolous trees, in doing so also pointing towards the economic divide between both London’s.
After looking at paths in terms of their appearance, I would like to think about what these paths serve as, in other words, what do these paths mean to both Luther and Sherlock? To begin with, during all three seasons of Luther many of the crimes he has to investigate begin with a crime scene located on a path, as can be seen in figures 3,4, and 5.
Figure 3 – Luther at crime scene in season two.
Figure 4 – Luther at crime scene in season two.
Figure 5 – Luther at a crime scene in season one.
More specifically, just about every episode begins with Luther visiting one of such crime scenes along a London path. Along these paths, Luther is often confronted with a scene surrounding a murdered body. This constant in the program arguably illustrates how Luther repeatedly experiences his paths through London as
dangerous, as they are sites of crime and death to which he is called. Reflecting back on Lynch’s argumentation that the paths a citizen walks create their perception of the city, it therefore could be argued that Luther perceives London as a place of brutality and where inhumane behavior thrives. As a result, Luther is constantly being
confronted by sights that suggest the difficulties and danger of living in London, a feeling also experienced by those in a socially and economically disadvantaged London.
Unlike the brutal realities Luther experiences on his paths, Sherlock uses paths such as streets and the tube to chase his suspects through a self-visualized route in figure 6 or an imagined route in figure 7. All of which he conjures up in his mind, the result of which is externally depicted for the viewer at home.
Figure 6 – Sherlock visualizing his location and the suspect he is chasing through
Figure 7 – Sherlock visualizing the London Tube map.
These visualizations of paths in Sherlock’s London bare much resemblance to visuals used in video games and points to Sherlock’s crime solving method, that being playing “the game”. Kustritz and Kohnen (2012) have a similar take on what these visualizations of London paths symbolize. To them they suggest that this form of visualization indicates a safe and easy landscape to navigate through. In other words, Sherlock uses paths as a means to play “the game” without dangerous consequences, an idea far removed from Luther’s brutal path encounters.
Also, in contrast to Luther’s London where bodies scatter his pathways, in Sherlock’s London landmarks scatter the way, illustrating perhaps what the city is more proud of. To elaborate, Sherlock often passes iconic London buildings such as Big Ben (Figure 8) and the National Gallery whilst playing “the game”, suggesting that the paths Sherlock uses are riddled with wealth and national pride, a far cry from Luther’s paths displaying sights such as murder. All in all, considering the physical display of paths, as well as the encounters on the paths in both programs, it can be observed that Sherlock emphasizes the riches and pride of London, and Luther the grimness and brutality.
Figure 8 – Sherlock and Watson passing Big Ben en route to the tube.
1.1.2. Edges
Edges, unlike paths, act as boundaries that separate two spaces, as previously mentioned walls and barriers that can be penetrated are examples of these edges (47). In this segment I want to elaborate on what is considered an edge, reason being is that when watching both programs, and keeping the idea of an edge acting as a boundary separating two spaces in mind, I observed an expression of such an edge not mentioned by Lynch, that being windows. Thus, although windows are not mentioned by Lynch as edges, his description of them is extremely applicable to them. Also, both programs often make use of windows, although how, and with what effect are both different, and telling of both sides of a dual London.
The window edges used in Luther often indicate situations of fear, looming danger, and despair amongst those who look through them. The figures below are two examples of such. Figure 9 shows a small group of people standing inside a petrol station shop looking through the window to see a man smash their cars, and later also kill someone. Figure 10 shows Mary, Luther’s love interest in season three just after she has peered out of this window to see a man below who is there to kill her.
Figure 9 – people inside witnessing the crime.
Figure 10 – Mary seeing the murderer
This use of windows in Luther in a broader sense argues that when looking out at London through the window, what can be observed should be met with grave concern. Much like the social and economic state of deprived areas of London, the areas Luther highlights.
The same, however, cannot be said for Sherlock. Although the windows in the
program also suggest aspects of London, they reflect London’s landmarks as well as trademarks, but not developing situations like in Luther when the people are watching the crime unfold. To continue, these reflections in the window echo the aspects London is most known for. A clear example of such can be derived when looking at figure 11, which shows Sherlock and his crime-solving partner Watson in a London taxi, whose windows reflect the iconic Big Ben and the London Eye.
Figure 11 – Big Ben and the London Eye reflected in a taxi window.
What can be said from this observation is that Sherlock’s prosperous and iconic London is reflected through these window edges, reflecting a place where the socially and economically healthy thrive.
1.1.3. Districts
Districts, according to Lynch are considered more noticeable than edges, as they are parts of the city that the citizen can enter, and where they can observe a common identifying character (47). A clear example of a district is a housing project that encompasses similar architecture, or a neighborhood that uses a certain palette of colors, details, or planting (104). Districts are an urban element that both Luther and Sherlock constantly enter; however, their identifying character is vastly different, leading to differing perceptions of London.
The most predominant type of district that can be observed when watching Luther are the various dilapidating London council estates. These estates are merely brutalist concrete blocks that serve no other function but to house people, in other words functionality and necessity are their driving forces. In Luther the people who live in these estates tend to be the murderers he is looking for, but this is also often where those murderers dump their victims’ bodies. Examples of which are figures 12 and 13.
Figure 12 – Estate that houses suspect.
Figure 13 – Body found on an estate.
Figure 12 is the outside of the estate where a man lives who throughout his
concerning episode murders dozens of police officers. Figure 13 shows a body that has been left in front of another grim looking housing estate. These districts therefore promote a sense of brutality, both in their architecture and in their purpose to Luther. This also reflects the brutal nature of London as experienced when watching Luther, in both a social and economic sense. Socially, as the most socially outcast people live there, and because the sights that can be observed are inhumane. In an economic sense as these buildings obviously have not been built to show off government wealth, or prestige, but to merely provide shelter to those with little. By contrast Sherlock primarily finds himself in a district categorized as Westminster, which is one of the most affluent parts of London. This area is characterized by its white Victorian houses, and is home to Parliament as well as Buckingham Palace. A plethora of Sherlock’s clients live here, as can be seen in figure 14, and he also uses the district to play “the game”, this is the case in figure 15, where Sherlock has led a person to this street to confront them of their wrong doings.
Figure 14 – Clients publicly thanking Sherlock.
Figure 15 – Street used to confront a suspect.
Needles to say, these districts’ ornate decorations and grand features are a dire contrast to the functionality and necessity of the council estates experienced by Luther. The Westminster area of London is arguably a celebration of London’s rich and powerful, those being people who can afford large homes in the center of
London, close to the sites that symbolize wealth and prosperity of their capital as well as of their nation.
1.1.4. Nodes
Nodes are the places to which someone can travel and can exhibit similar physical characteristics. Examples of nodes include street corners, squares, and landmarks. These nodes often also act as a symbol of the district in which they lie (48).
Considering their flexible nature, nodes are perhaps less simple to identify than for example a large landmark. Yet, both Luther and Sherlock make use of them in a distinct way namely to watch people.
Much like Luther’s paths, and districts, the nodes featured in the program are often used to showcase highly dangerous areas and situations. Most commonly, nodes are used as tools of entrapment. Where the people below in the node are looked upon from a vantage point by those intending harm. Both figures below illustrate such concerning a square acting as a node. Figure 16 shows the police using a node to capture someone, and figure 17 shows how a criminal is using the node for the same purpose.
Figure 16 – Police aiming at a suspect.
Figure 17 – Murderer aiming at police.
The notion of surveillance is also heavily present in both images. Both the police and the criminal are watching the people below with a gun in their hand waiting to shoot. Meaning, with this surveillance comes an extreme amount of control and power, a notion presented by de Certeau in The Practice of Everyday Life and in particular the chapter Walking in the City (1984). In this chapter de Certeau argues that the
vantage point from the top of the former World Trade Center in New York lifts a person out of the city’s grasp, and elevates him into being a voyeur (92). In doing so, giving this person an all-seeing god like power as they look down at those below
(92), a position both the police and criminal find themselves in when pointing their guns at the people below. These situations could metaphorically reflect the social and economic wellbeing of those who live in Luther’s London. Meaning, when a citizen, like Luther, treads these nodes in London, they are admitting themselves into a city space where they are looked down upon with the notion of failure.
In comparison, the nodes used in Sherlock have a much less threatening nature. Although, like in Luther they are used for people watching, they do not express a strong possibility of also killing those people. Figures 18 and 19 below exemplify such an observation.
Figure 18 - Sherlock and Watson observing from a bench.
Figure 19 - Sherlock and Watson observing from a restaurant.
Figure 18 depicts Sherlock and Watson sitting on a bench in the Westminster area of London, observing a potential client. Figure 19 depicts them in a restaurant situated on a street corner, near their home on Baker Street trying to spot a criminal. Their postures when experiencing these nodes seem slightly tense, although at first glance they are in arguably more welcoming spaces than Luther’s condemning nodes. This suggests that the nodes in Sherlock’s London are not of a threatening nature, but
that Sherlock himself introduces the element of excitement. These nodes also, much like the paths in Sherlock’s London, are decorated with greenery and flattering light. To elaborate, unlike Luther’s damning spaces, these nodes welcome people to socialize on a bench and spend money in a restaurant. This then ultimately reflects of the social and economical health of Sherlock’s London.
1.1.5. Landmarks
Landmarks, as with edges, I feel, can be elaborated on. Lynch refers to them as a physical object like a building or shop, and similar to a node can be a point of reference (82), but also that the observer does not enter them (48). I believe the latter to be an insufficient description as this is not always the case, especially when considering Sherlock. This segment will argue that Sherlock does indeed keep some landmarks external, but also internalizes London landmarks in his mystery solving. This segment will also analyze the use of landmarks depicted in Luther and in which way they are used.
Landmarks are often featured in Sherlock, whether it be reflected in an edge or seen along his path. But Sherlock also enters these famous London landmarks, as they are often integral to the plot of the related episodes. Examples of this include using a landmark as the scene of a crime, such as the National Gallery but also the Tower of London depicted in figure 20. In this case the Tower of London has been broken into, and it is Sherlock’s job to find out what has happened. Or, as figure 21 shows,
Sherlock uses landmarks as a location in which he speaks to his clients, which in this case is Buckingham Palace where he has been summoned by an undisclosed member of the Royal family.
Figure 20 – The Tower of London.
Figure 21 – Sherlock in Buckingham Palace.
Sherlock internalizes these landmarks because they are part of the make up or foundation of his London when it comes to what they represent about British history, as well as the nations, and city’s wealth and prosperity.
Sherlock, I argue, does not just break with Lynch by internalizing landmarks, he also bring them to life. This is the case when one of the victims he is confronted with is an iconic Queens Guard (figure 22). These guards are fixtures of London, much like a permanent structure, and are visible over a range of time and distance, which according to Lynch also contributes to a landmark (101). The result of which is the same as when landmarks are internalized, but by bringing them to life Sherlock does so even more strongly.
Figure 22 – The Queen’s Guard who is later killed.
Luther’s uses of landmarks, however, are extremely contrary to this. Luther does not internalize them like Sherlock nor does the program pay any homage to them. One of
the biggest examples of this is the depiction of the London Eye in both programs. The London Eye being quite the London skyline fixture, and well-known tourist attraction, is almost accidentally left in Luther’s skyline in figure 23 and 24. The viewer would have to pay close attention in order to spot it, and for this reason I’ve added the red arrows to highlight them.
Figure 23 – The London Eye can be seen on the left.
Figure 24 – The London Eye can faintly be seen through the glass.
What can be understood from these stills is that Luther does not pay attention to landmarks, and consequently their portrayal of national pride, and wealth. These two terms arguably do not have a place in Luther’s London, as Luther experiences
dilapidation and brutality in his environment. City landmarks are most commonly celebrated elements of a city, yet based on the city element in Luther’s London, there is little to be celebrated.
1.2. Theme’s
When considering these city elements and how they are used, and with what effect, several reoccurring themes can be recognized. This concluding segment of the
chapter will highlight, and reflect on these themes in both Sherlock and Luther, to ultimately argue how they contribute to a polarized London.
What has become apparent from identifying each of Lynch’s elements from The Image of the City (1960) in Sherlock is that the program emphasizes that which signifies prosperity in London. This becomes most evident when noting how London landmarks are used throughout the city elements. Sherlock passes them on his paths, they are reflected in his edges, they are situated in the districts he walks through, and perhaps most importantly, they are even internalized and personified. Not only do these various depictions of landmarks promote London’s prosperity, they also indicate a sense of pride of the city. Meaning, when Sherlock walks its streets and let’s us see the landmarks through any of the city elements he is essentially “showing off” what riches London has to offer. It is also this that indicates the socially and economically advantaged as opposed to Luther’s London.
Luther’s use of city elements provides abundant evidence of an opposing side to London. A London whose overall theme is dilapidation, not only in the physical sense of buildings that are falling apart, but in the sense that these then create a sense of despair that comes with being surrounding by that which is in disrepair. This is also reflected in the sights along Luther’s paths, and what can be seen through the edges. Observing the poor state of city elements in Luther also points out how these
elements are purely functional; they serve no other purpose but necessity. This in turn reflects on the economic state of Luther’s London, as there is no wealth distributed to this area from Sherlock’s London.
Lastly, the way in which both programs either recognize or fail to recognize a social and economical divide in London can be seen through physical city elements. This is an aspect that Luther fully acknowledges through various images, as can be seen in figures 25, 26, and 27. In these images juxtapositions can be noted between
Figure 25 – stock shot aerial view of London.
Figure 26 – view upwards of neighborhood.
Figure 27 – View of the city from estate.
In these figures physical urban elements that contribute to both sides of a polarized London can be observed as Luther’s disadvantaged and dilapidated London is standing below the tall and expensive looking buildings. If anything, the close
proximity of these contrasting buildings enforces the argument that London is indeed socially and economically polarized, as these images cannot be denied. In the Lynch tradition and looking at this through a more human lens, this could contribute to even
more despair amongst Luther’s London, as they are stuck in the disadvantaged side of the city whilst being able to see what encapsulates the opposite.
Sherlock however, struggles to acknowledge such a clear divide. This is not to say Sherlock never sets a foot outside of a landmark, but when he does a sense of any severity is lacking. Figure 28 depicts a squatter’s house inhabited by drug addicts where Sherlock was briefly undercover, and figure 29 shows him and Watson exiting the building.
Figure 28 – Sherlock outside squatters’ house.
Figure 29 – Exterior of the squatters’ house.
The crumbling building is depicted under a clear sky on a sunny day, a leafy woodland area can be seen next to the building, as well as how wildflowers have grown against the building. None of these observations enforce dire situations (such as the one inside it), because neither does Sherlock’s London. Moreover, Sherlock does not provide any visual juxtaposition concerning the divide as we can see in Luther. This failure to be mindful of, and acknowledge a social and economical divide in London could perhaps deter from his city pride and its portrayal of prosperity.
All in all, Luther emphasizes the disadvantaged side of London, whereas Sherlock draws attention to the wealth and prosperity the city has to offer. This can be deterred from the city elements portrayed in both Luther and Sherlock and as a result, they heavily contribute to a social and economical divide in London. This is enforced through both the appearance of city elements, as well as, how the protagonists experience them.
1.3. City Elements commentary on London
After considering how both programs emphasize a polarized city through city elements, I want to discuss what this means about London. In other words, what is the commentary both programs are delivering about the polarization in London based on the depiction of the city elements in Luther and Sherlock? In order to answer this question, the opening title sequences of both programs will be analyzed. These opening title sequences will be used because they are a very controlled first impression of the program. It allows the creators of the program to establish the atmosphere and tone of the program. Meaning, that conscious decisions have been made to depict and include certain London sights in the way they have been.
Consequently, in doing so they both incorporate many of Lynch’s city elements. London, according to Kantor et al (2012) is a city that has both some of the richest and poorest areas of the country. This can certainly be observed when watching Luther. To me, this suggests that the depiction of London in Luther is a critique of this unequal distribution. This critique can be predominantly experienced when faced with the contrasting images of London combined in singular frames. Previous figures 25, 26, and 27 are examples of this, but the frames in the opening title sequence
perhaps more so. During this sequence Luther often looks at landmarks that make up the Canary Warf district (London’s financial district). In other words, Luther is
excluded from these financially wealthy spaces of London, left on the sidelines unable to reach them. More specifically, he is separated by an edge, that being the water that lies between Luther and Canary Warf. This can be observed in figures 30 and 31 below.
Figure 30 – Luther overlooking London, Canary Warf is to the left.
Figure 31 – Luther overlooking London, Canary Warf is centered.
Such a critique cannot be observed when considering city elements in the Sherlock opening title sequences, I use the plural form as they change slightly per season, including glimpses of the storylines to come. The opening title sequences of Sherlock can be considered more of a celebration or postcard of London, rather than a critique on its social and economical exclusion. In contrast to Luther where Luther is
the opening title sequences of Sherlock are densely packed with landmarks and gives us up close visuals of them, across all the seasons. Sherlock’s controlled first impression of London is therefore almost a London brochure, displaying all the city elements that exude wealth, pride, and power.
Below are several images from the opening title sequences that establish this sense of celebration. Figure 32 depicts the Old Bailey, the central criminal court in Britain, as well as 30 St Mary Axe (better known as The Gherkin) an office complex that houses some of finances leading players. In figure 33 we can see Big Ben, The Union Jack, and St. Paul’s Cathedral. Lastly, in figure 34 a total of five landmarks can be spotted, these being: The London Eye, Big Ben, House of Parliament,
Westminster Abbey, and the Golden Jubilee Bridge. This results in a total of eight landmarks in a sequence of approximately thirty seconds, similar to a shop window displaying all of its best products. Sherlock is obviously very keen to show the viewer all that London is proud of in a celebratory fashion.
Figure 32 – Big Ben, St. Pauls Cathedral, Union Jack flag.
Figure 33 – The Old Bailey and “The Gherkin”.
Figure 34 – The London Eye, Big Ben, House of Parliament, Westminster Abbey, and Golden Jubilee Bridge.
Lastly, I will consider how this chapter in its entirety has contributed to the overall argument of this thesis- this being that Luther and Sherlock emphasize a socially and economically polarized London- and its research question: how, and with what result, do Sherlock and Luther emphasize a socially and economically polarized London? To briefly recap, this chapter set out to examine the way in which London appeared in both programs using Lynch’s city elements from The Image of the City (1960). The outcome of which enforced the main argument by displaying how Luther’s London used the city elements to illustrate dilapidation and despair, and Sherlock’s London as a city where wealth and prosperity are central. This also became apparent when recognizing the critique rooted in Kantor et al’s (2012) statement that London has some of the richest and poorest areas of the country. This polarization could be noted throughout the programs including their opening title sequences.
The content of this chapter has therefore made it evident that social and economical polarization in London can be noted when examining the foundation in which both Luther and Sherlock are set, that being London. That is to say, the main argument that this thesis is making can be observed at the absolute core of each program. Moreover, and equally important, is that this social and economical polarization of London actually lives within these programs through the protagonists.
Chapter two – Sherlock, the London flâneur
The previous chapter focused on how the physical city elements in Luther and Sherlock emphasized a socially and economically polarized London. This second and third chapter will shift this focus from the city’s physical fixtures to the characters. In other words, moving the focus from concrete to the character, and in doing so switching the analytical perspective around, reading the person instead of the city. More specifically though, this chapter will focus on the character of Sherlock and his attitude towards London, as well the fashion in which he explores the city.
But what is the relevance of doing so, why is the character a useful object to analyze when it comes to unveiling London as a polarized city? To answer this I will refer to Grosz (2002), who argues that the body and the city should be understood as analogues, counterparts, where characteristics of one another are reflected in the other (300). This then allows the body to become “citified” and to become a
metropolitan body (297). What is essentially being argued here is that the city and the body are embedded into each other, therefore I argue much can be read about the city by looking at the body that moves through it. This chapter aims not to
examine the body in terms of its muscles or skeleton, but is inspired by the notion of how the city, and the person in the city can reflect each other’s characteristics. This chapter will argue that this is most definitely the case with Sherlock, and this becomes most apparent when declaring Sherlock a modern day flâneur of London. Before continuing to explain why and how, I will clarify what is meant when referring
stroll or to wander. But the origins of the flâneur as an urban figure lay in literature, and the authors who penned his persona. One of which was French poet Charles Baudelaire who was one of the first to write about the figure at a time when cities and metropolises were starting to develop during the nineteenth century. Baudelaire’s flâneur was known to stroll around Paris and be one with it, using the city as an extension of himself, but also incorporating the city into his life, in doing so becoming a botanist of the sidewalk (referring to studying the city as if it were species of plants (Benjamin 1997)).
The flâneur thus became tied to a specific place and time, that being Paris in the nineteenth century (Tester 1994). Victor Hugo was a firm believer in this connection, stating in his world famous novel Les Miserables that “To wander is human, to flâner is Parisian” (1862).
For this chapter however, I will not be using the flâneur in this strictly Parisian, nor nineteenth century sense. Instead the flâneur will be considered as a paradigmatic urban figure, whose main characteristics can be translated into different times and cities. I will argue that his main characteristics are also found in Sherlock, an idea also to some extent forwarded by Rignall (1992) who suggests that Sherlock Holmes can be described as a “direct descendant of the flâneur”. Furthermore, this chapter will argue that considering Sherlock as the flâneur ultimately suggests that London and Sherlock are embedded into each other, meaning that Sherlock to some extent personifies the city. Lastly, I will discuss how Sherlock as the flâneur contributes to the emphasis of a polarized London.
In order to achieve my goal for this chapter I will be relying heavily on the following essay: “The Paris of the Second Empire in Baudelaire” (1997). The author of this essay, Walter Benjamin, was best known as a philosopher and critical theorist. One of his most famous works was “The work of art in the age of mechanical
reproduction”. In this piece Benjamin discusses the implications of being able to reproduce works of art, and when doing so losing what makes that piece so special, that being its authenticity, or as he describes the aura. “The Arcades project”, was another piece of work he was known for but something he never completed. “The Arcades Project” focused on the arcade structures built in Paris in the nineteenth century, they were glass covered, marble paneled walk ways through entire
complexes of houses and buildings. Most of them would house luxury shops, and they appeared to be almost a miniature world. Benjamin considered how these arcades affected Paris city life (Benjamin 1999).
In “The Paris of the Second Empire in Baudelaire” however, Benjamin studies the social and cultural history of late nineteenth century Paris in relation to the poetry by Parisian poet Charles Baudelaire. More specifically, in the text Benjamin points out three key moments that had influence on the flâneur’s persona; these will be outlined in the chapter to come. Moreover, this chapter will discuss how these influences that created Baudelaire’s flâneur that can be identified in Sherlock and, as previously mentioned, how this suggests Sherlock is contributing to depicting London as a polarized city. Lastly, Benjamin refers to the flâneur throughout his essay in italics, considering his text is the framework for this chapter, I will follow suit.
2.1. Identifying the flâneur in Sherlock
This first segment of the chapter aims to outline the flâneur’s main characteristics, as can be read from Benjamin and argues that these characteristics are also found in Sherlock, suggesting that Sherlock is a flâneur. When reading Benjamin the flâneur’s various characteristics were developed and inspired by changes and developments in nineteenth century Parisian society and literature. Although these changes were time and place bound, the result of which I argue are not. These characteristics include a lack of empathy, high self-esteem, being able to think at the pace of the city, as well as the degree to which he is embedded into the city. In order to draw clear comparisons between the flâneur and Sherlock this segment will be structured according to the development through which the flâneur came to be according to Benjamin based on Baudelaire’s poetry, those being: physiologies, the detective story, and urbanization. Finally, I will also discuss a characteristic not addressed by Benjamin that being the flâneur’s gender.
2.1.1. Physiologies
The first characteristic of the flâneur I will touch on has its roots in the time of physiologies. These were volumes of novels compiled by various Parisian authors,
who would sketch out different types of Parisian figures they observed in the city. The purpose of which was to allow Parisians to identify certain figures on the streets during the nineteenth century in Paris. Benjamin argues that these physiologies helped fashion the phantasmagoria of Parisian life during that time (39) whereby a dream like impression of the city was created where everyone knew each other and people had nothing to hide (37).
During this time the street became a dwelling for the flâneur, where he felt as much at home “among the facades of houses as a citizen is in his four walls” (37). For the flâneur, the city walls are “the desk against which he presses his notebooks; news-stands are his libraries and the terraces of cafes are the balconies from which he looks down on his household after his work is done” (37). In other words, the city and the flâneur were an extension of each other. The flâneur lives in the exterior of the city and not, like many city people, within their private homes. This is an aspect of the flâneur that defines a quintessential characteristic of Sherlock. To elaborate,
Sherlock uses London as a tool to solve the mysteries he is presented with or he himself has to come up with by reading his city surroundings for possibilities. It is therefore not merely the case that Sherlock solves crimes in London; he solves crimes with the help of London.
A prime example of this is the first episode of season three, the follow up to the cliff hanger at the end of season two during which it appeared that Sherlock had fallen to his death after jumping off the roof of St. Bartholomew’s hospital. When attempting to explain how he managed to fake his own death in front of Watson’s eyes, he uses the surrounding London buildings and streets to do so. Figure 35 displays how certain buildings blocked Watson’s view of the crash pad laid out to break Sherlock’s fall from the roof. Because of the height of the building Sherlock was standing on and that of the smaller building in front of it, Watson was unable to see the reality of the situation. The circle to the left is Watson looking up at Sherlock on the roof of the building with the arrow but is unable to see the air mattresses being laid out behind the smaller building in between them.
Figure 35 – Overhead view of how Sherlock was able to fake his own death. Having made this argument, there is also an aspect about this notion of the street being a dwelling for the flâneur and thus an extension of him that is challenged when watching
Sherlock. More specifically, this notion is problematized when noting that Sherlock uses a lot of London taxis throughout the program to get to various locations, and once arrived at the locations he explores them. This inconsistency is arguably a result of the time in which Benjamin wrote about Baudelaire’s flâneur, this being in the nineteenth century when city taxis were non-existent. Having addressed this discrepancy, I believe Sherlock is contributing to a modern day understanding of the flâneur when not only exploring his city on foot but also by vehicle, a very modern day city amenity that many use to discover various parts of the city.
2.1.2. The detective story
The second moment of development also concerns literature, this being the
introduction of the detective story. The detective story came at a time when the idea that physiologies promoted; that all Parisian’s were friendly and could be identified, was wearing off. As a reaction to this, literature was being written that touched on the disquieting and threatening aspects of urban life (40). Benjamin also credits some of the origins of the detective story to a concern expressed in a nineteenth century police report that stated that it is “almost impossible to maintain a good behavior in a thickly populated area where an individual is unknown to all other and thus does not to blush in front of anyone” (40).
During this time the flâneur found himself to be an unwilling detective as a result of his frequent city strolls. This newly acquired role did the flâneur a lot of good socially, playing into his idleness, and boosting his self-esteem (40-1). Here, two of Sherlock’s traits can be detected, firstly his role as an unwilling detective. To elaborate, in
Sherlock, Sherlock is hired by the police as a consulting detective, meaning he is not officially a police officer but is often asked to help the police when solving mysteries. Although he enjoys what the job brings, that being mystery solving, he often
becomes frustrated with the ways in which the police conduct their business, often pursuing the wrong leads or not thinking creatively enough. The combination of these two aspects suggests that Sherlock is also an unwilling detective; as he does not want to comply with the regulations imposed on an official detective. Secondly, the flâneur’s self esteem and confidence is a trait Sherlock has barrels of. This can be derived from the manner in which he addresses others, as well as his self assured delivery of his thoughts concerning the case at hand.
An example that illustrates both traits can be seen within the first fifteen minutes of season one, episode one. During this time the police are holding a press conference addressing a string of what they consider to be suicides. During the press conference the reporters in the crowd, and the police, receive several text messages that say “wrong” (figure 35). These messages refer to the police’s conclusion that the cases at hand are suicides. After the press conference is over Chief Inspector Lestrade
receives another text message, simply saying, “you know where to find me. SH” (figure 36). It then becomes clear Sherlock has been sending the previous messages to the reporters as well. This showcases Sherlock’s confidence and self-esteem as he is so sure the police are wrong by literally telling everyone they are, followed by the message to Lestrade, which arrogantly suggests they need his help as they are obviously not on the right track.
Figure 36 – Reporters reading their “wrong” text message.
Figure 37 – Chief Inspector Lestrade reading his text message from Sherlock.
Not only did the flâneur become an unwilling detective with high self-esteem, he also developed “forms of reaction that are in keeping with the pace of the big city. He catches things in flight; this enables him to dream that he is like an artist” (41). This last aspect describes the characteristic people notice about Sherlock when they first meet him, that being his ability to think at the pace of a city (41). He uses this ability to read people, for example when war doctor veteran John Watson first meets Sherlock he is taken aback by Sherlock’s immediate question: “Afghanistan or Iraq?” Meaning Sherlock has been able to decipher Watson’s past within a minute of meeting him. Sherlock’s ability to think as fast as a city is also evident when he “reads” a crime scene. Below is a depiction of Sherlock’s train of thought when he sees this females victims’ ring (figure 38). In just one glance at her ring he can determine she was a serial adulterer and unhappily married for over ten years, based on how worn out her ring is,
suggesting she frequently takes it off.
Figure 38 – Sherlock’s thoughts when seeing female victims’ ring.
2.1.3. Urbanization
The last aspect this segment will build on as an influential moment in the
development of the character of the flâneur is not one that is purely literary, but was a change in society as a whole, this being urbanization. This time in the nineteenth century was characterized by the disappearance of gaslights in the arcades and being replaced by the electric light (51) and the introduction of department stores (54). Meaning technology and commoditization became the driving forces in society. Commoditization in particular had influence on the flâneur as whilst in department stores he became intoxicated by the commodity and around him as well as the other customers (55). The nature of these commodities that Benjamin describes as “devoid of empathy” can also be recognized as an aspect of the flâneur (55). Or in
Benjamin’s words “empathy becomes the nature of the intoxication to which the flâneur abandons himself and someone else as he sees fit. Like a roving soul in search of his body, he enters another person whenever he wishes. For him alone, all is open; if certain places seem closed to him, it is because in his view they are not worth inspecting” (55).
What is described here is a quality that Sherlock strongly possesses. He finds it difficult to empathize with those around him, often deeming people not worthy of his time. This can be noticed in his everyday communication with people, as he often does not participate in the niceties people are accustomed to, an example of which is when someone says “nice to meet you” Sherlock often does not reply with the
socially expected “nice to meet you too” as he does not fathom their feelings would be hurt if he did not reply with such. His relationship with the character Molly brings his lack of empathy to light more so than others. Molly is in love with Sherlock,
something everyone can see except Sherlock himself. As a result he often disregards her efforts to look nice for him and such, and is even unknowingly rude to her about them. When he finally discovers her love for him he apologizes for his behavior with a staccato delivery.
Sherlock does however acknowledge his rude behavior in general when he is best man making a toast at Watsons wedding in season three episode two; he confesses he is the “most unpleasant, rude, ignorant and all-round obnoxious arsehole that anyone could possibly have the misfortune to meet. So if I didn’t understand I was being asked to be best man, it is because I never expected to be anybody’s best friend.”
2.1.4. Gender
The final characteristic of the flâneur, and Sherlock, I want to highlight is that of his male gender. Although this aspect is not addressed by Benjamin in “The Paris of the Second Empire in Baudelaire” it is a characteristic that through all other
developments remains. Before developing this characteristic, I find it important to note that I acknowledge that a complete gender analysis of a literary figure, and how this figure has been reinvigorated in modern times through Sherlock is not possible in the scope of a subchapter. I do however; find that looking into this aspect of the flâneur and Sherlock can add to the characteristics outlined by Benjamin. To do so, a historical approach will be taken to focus on the origins of the male flâneur, and possible reasons for his gender, and if they are still relevant to Sherlock living in today’s London.
Tester (1994) notes that most of Baudelaire’s work made use of a male narrator or observer (2) a trait he also applied to the flâneur. Considering Baudelaire wrote his work, including that on the flâneur, in the nineteenth century a possible reason for choosing a male gender was nineteenth century society. One aspect of this time was gendered space, as Dreyer and McDowall argue (2012). Meaning, public spaces were associated with males, and the private space with women (32). More
specifically, a division between work and home was established where women were expected to stay at home in the domestic sphere (33). Due to this societal norm, Gleber (1997) argues, women’s experience of the street has always been both marginal and regulated.
Furthermore, Wolff (2006) argues that the flâneur was necessarily male, as the privilege of passing through the city was something women were not granted. Had
