A good detective story, as with the classic Conan Doyle writings, has all the clues to solve the crime in front of the reader. Only the writing is so good that to solve it the reader has to be as good as the detective in question, as good as the great Sherlock Holmes.
If it all works, once Holmes reveals the killer at the end of the story, it becomes THE SIXTH SENSE ending-kind-of-moment. The reader is not only awestruck, not only chiding him/herself that they missed it, but feels delight that it all fits. They replay the story in their minds and realize that the clues were always there, they just didn't put it together.
In this episode, the emails that led to the killer's reveal, we weren't privy to. They were discovered, read, and deductions made thereof behind the scenes almost incidental. It was as if Sherlock and Watson had a theory, then sort and found the evidence to prove it, without our witnessing it.
They didn't find the damning clues first, then deduced the killer from them. As a result, the feeling that the viewer , as with the reader of the classic Sherlock tales, of competing with the great detective to find the killer, by putting it all together first, is missing.
When evidence is withheld from the viewer, for Sherlock to use in his big reveal at the end, surprising both the killer and the viewer, is cheating by the writers.
Moreover, ELEMENTARY, then falls in danger of becoming a clone of THE MENTALIST series. Jane, like Holmes, is an astute man, observant of human nature and able to see things as no other around him can. Yet in his own show, we see very little deductive reasoning from Jane. Often it is as if he guessed who the killer is, then concocted some gimmick to get the killer to reveal him/herself , the gimmick itself aimed to work on no other but the hitherto hidden killer.
In each case, Jane then had some fore-knowledge of the killer for him to come up with the gimmick, but how he came to his conclusions, to this knowledge, the viewer is not shown.
We don't really see how Jane's brain works. THE MENTALIST writers go to pains to make Jane appear smart, but they do it by not revealing anything to the audience until the last minute.
With Holmes, he is supposed to appear smart because nothing is hidden to the audience, but he is able to interpret it all beyond the capabilities of the audience.
And even then, once he reveals his conclusions, reveals the killer, every audience member should have the same response as the other characters/other observers around Holmes, the response of realization, of "of course!", followed by a figurative smack to the forehead.
This is what a real Sherlock Holmes story should be.
On another note, given Watson's new status, I've waited 18 episode before making up my mind, now have to comment: I don't like that Watson is female. In the Sherlock Holmes stories, Watson is not only Holmes biographer (which Joan doesn't even consider here), he is Holmes' confidant, his springboard for ideas, his friend, his doctor, the only one (except to some degree Mrs. Hudson, Holmes' housekeeper whom is sorely missed in this show) who really sees the real Sherlock Holmes. Watson is the only person in front of whom Holmes will let his hair down, whom he will allow to see his vulnerabilities. Watson is the only person Holmes trusts without question, and as such, the only person who is able to keep Holmes grounded.
Holmes is Sheldon from THE BIG BANG THOERY, without the comedy, who is so clinical he is unable to relate to other humans or their emotions. Watson keeps Holmes human, and stops him from falling into an impersonal world of cold facts and emotionless relationships.
Joan and Sherlock won't be able to reach this level of intimacy without the show wandering into the territory of all other TV dramas that have a male and female lead, the old fallback of sexual tensions the-will-they-won't-they? senerio, if you will- to keep another level of audience interest.
Please, god-like writers, Sherlock and Watson should never become lovers, nor should there ever ever be any hint of it. But how then, can you portray the closeness as outlined above, which would be easier to do if the characters were both male, and seemingly impossible when one is female, without implying sexual tension or sexual interest?
A simple case, made more stand-out by its multiple facets. It was a great starter case for Joan, allowed the proper amount of doubt without crippling the case and made for a decent episode. The reveal at the end was a bit of a stretch, but my profession isn't consulting detective, so I'll trust them to make the leaps in hypothesis and realization. Decent story, convenient use of Sherlock's violin skills, severe lack of Clyde and/or the bees. Let's get a little more complicated next episode, shall we?
Just when I thought it could not get better, it does. Up to this point in time every episode of "Elementary" I have seen is better than the other. "Deja Vu All Over Again" is nothing short of fantastic. This episode has a masterfully written script which keeps the viewer guessing right up until the end. Just when you thought you had it all figured out.... I have said it before and it deserves to be said again. Johnny Lee Miller and Lucy Liu are excellent. Seeing how it all came together at the end was a big highlight. Another great episode on the inagural season of a great show.
Deja Vu All Over Again was a fantastic and very entertaining episode of Elementary. I really enjoyed watching because Sherlock encouraged Joan to investigate her own case as he did his own. It was intriguing to see the character growth and plot development. I liked how everything played out and I certainly look forward to watching what happens next!!!!!!!!!
TV magic, plain an simple. Clyde's adoptive mother starts a police record of her own during her first solo case, which also lands her the first intervention since she switched careers. Fortunately for the tortoise, Clyde's adoptive father is nothing but understanding. Sherlock has nothing but faith in Joan, and he would take no less from her.
Indeed Watson solves, not only her case, but Sherlock's as well once she discovers the cases, much like their respective investigators, are perfectly intertwined.
People who make their living writing for television watched this dreadful episode. We had to take three of them to the hospital. I have never watched a more contrived, badly written, juvenile episode of prime time television, ever. Okay, fine, Bonanza had some stinkers but that was fifty years ago. The cast wanted to KILL THEMSELVES but, naturally, soldiered on. There is no possible way the executive producer took a pass at the script. It seemed as though it was written by somebody who took a 101-screenwriting class and somehow convinced the producers that they were ready to go. YOU CAN KILL A SHOW IN ONE EVENING ALLOWING WRITING OF THIS CALIBER TO BE PRODUCED AND PUT ON THE AIR.
Brilliant episode, two separate cases become one case & Watson solves her first case with a little help from Holmes. In the way off asking questions not by giving her clues & Watson solving crimes can come naturally but it can also be taught & your well on your way. Joan Watson - Consulting Detective. Thumbs Up. (I'm Gonna Watch That Again).
This episode marks two pivotal moments in Ms. Watson's life: her first ever being arrested and her making her career pick. She chooses for the world that had been opened up to her the day she met Sherlock. She embraces her internal detective and adjusts her occupation on her profile page. OK, she made some mistakes in her first ever investigation, buy hey, who cares, the woman with the crazy story helped to solve both cases!
Also we got a peek into her social life when we were introduced to her friends, who genuinely seem to be worried about her. However, Ms. Watson seems to walk a way that might potentially lead her to alienation from her friends and turn into a solitary Holmes-like figure.
On the whole, quite solid acting from Ms. Liu's side - she seemed to enjoy every minute of it - but the bad guy was kind of flat and uninteresting.