Elementary, CBS's take on the character, is frustratingly predictable.
The Sherlock Holmes introduced in the new show Elementary is a more damaged, vulnerable version of the legendary sleuth than we've seen before. At one point, when asked to explain how he reached a conclusion, he admits ruefully: "Google. Not everything is deducible."
Fans of Sherlock Holmes are certainly spoiled for choice these days. But a modern, smartphone-using Englishman in New York who solves murders with a female Watson by his side is a lot of change to absorb, especially considering the show had a bit of a hill to climb before it even premiered. Steven Moffat, co-creator and writer of the BBC series Sherlock (which airs in the US on PBS), reportedly turned down CBS's offer to adapt his acclaimed show, subsequently expressing some annoyance that the network went ahead with its plan anyway.
I don't begrudge CBS for launching its own re-imagined version of the character—even if the pilot does play more like a slick, standard-issue crime procedural than a true Holmesian experience. After all, the legendary detective has been resurrected regularly since he first appeared in Arthur Conan Doyle's A Study in Scarlet in 1887. You could argue that the character of Gregory House M.D. is actually the first contemporary Holmes, only swathed in hospital scrubs instead of a frock coat. The film franchise starring Robert Downey Jr. remade the super sleuth into a kind of steampunk action hero. It's hard to make the case that any living person can lay claim to Holmes, regardless of the century in which the character is dropped.
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History also shows that interpreting a British show for an American audience is a tricky business (a sticky wicket?). MTV recently poached two popular Brit shows—Skins and The Inbetweeners—bringing on the original creators to helm the adaptations. Skins was cancelled after one season, and from what I've seen of the American The Inbetweeners (an admittedly small sample size) it's a limp facsimile of the original comedy about a group of deeply awkward teens. The most successful adaptation, and the one most commonly invoked, is of course the American version of The Office, now kicking off its ninth and final season. But that show diverged early in its run from simply aping its British predecessor. It may be for the best that CBS went its own way—at least we now get two distinctive takes on Holmes, rather than an entirely superfluous copy.