Benedict Cumberbatch, Transition Completed

by Lynnette Porter

  Cumberbatch makes audiences believe that rather awkward backstory and assumes the role of a prime villain. Khan’s emotional range (which, for the movie’s “heavy,” is surprisingly wide and deep), physical grace and power, and voice effectively provide gravitas to what otherwise could have been a silly blockbuster movie villain.

  Kirk hunts down Khan, who then surprisingly surrenders to him after saving the Captain and his away team from death by Klingon. Back on the Enterprise, when Kirk angrily addresses the incarcerated Khan, Cumberbatch lets the moment build before Khan responds. During this pause, Khan drags his eyes slowly up the Captain until he makes unblinking eye contact. Instead of Kirk being in charge of his prisoner, Khan assesses Kirk and decides best how to talk with him. It is a subtle power shift, but it works beautifully to illustrate that Khan is hardly incapacitated. Khan’s serpent-like eyes in this scene provide a mesmerising quality to his gaze. Without moving, Cumberbatch-as-Khan exudes menace and seems all-seeing.

  Khan also cries for his comrades. Most villains never show the emotional “weakness” of shedding even the quietest tears, and, if they do, their emotion is highly suspect because, after all, they are villains who are supposed to lie to other characters (and the audience); they are not meant to engender empathy. When Khan becomes emotional about his crew, he turns his back to his captors, but the audience can clearly see his eyes fill. A single drop overflows and runs down his cheek.

  If audiences believe that Khan genuinely loves his crew and will do anything to get them back, then they can accept his motive for everything from destroying swaths of major cities to surrendering to Kirk to manipulating others to get what he wants. Khan can become a multidimensional character only if audiences accept that he is more than just a bad guy who mindlessly seeks the Federation’s destruction. Cumberbatch sells that pivotal scene. He quietly manipulates audiences’ perception of Khan and makes him human, not just a killing machine.

  Similarly, every simple action has precise character meaning. After Doctor McCoy takes a blood sample from Khan, Cumberbatch has the villain holding his arm as he watches and waits to see what will happen. When it becomes apparent Kirk is going to talk with him, Khan immediately drops the “weak” stance of holding his arm and instead positions his arms slightly out to his sides. The pose emphasises his bulk and indicates that he is ready for anything. Even such slight, deliberate movement illustrates the thought behind the performance.

  When Khan takes over a Federation ship, Cumberbatch again could play the scene way over the top, but, although looking every inch the Big Bad as Khan crushes a skull with his bare hands, he never trips over that fine line into silliness.

  Cumberbatch’s performance is so different from Montalban’s that the new, three-dimensional Khan created for IMAX 3D positively separates Cumberbatch from the prior interpretation of Khan. By the end of the year, Khan was listed as number five among the Top 10 Movie Villains of 2013, as compiled by Entertainment.ie. The website lauded Cumberbatch’s Khan as “a morally complex character” for whom audiences “might’ve felt some compassion... had he not kerb-stomped on Alice Eve [Carol Marcus], and then squashed her father’s skull in his hands in front of her”.[34]

  Promotional Appearances for Star Trek

  The saga of Abrams’ “Khan games” perpetuated on the audience and Cumberbatch’s elevated media profile can be traced through a series of promotional television appearances at home and abroad. The actor was talking about his privacy in light of so much media attention when he commented that “You can’t control perceptions any more”.[35] The intense interest in everything he does, whether in front of the camera or behind closed doors, typically results in dozens of online and in-print articles every day. Everyone nowadays seems to form and share opinions about what a star really is like - the person behind the public persona - based on photos snapped anytime, anywhere. Whereas, during Hollywood’s bygone Golden Age, a star’s image could be controlled by zealous publicists, agents, or studios who ensured an actor looked as nearly perfect as possible at a public event like a red carpet or during an interview, today’s prevalence of social media and anyone’s ability to immediately share photos or videos largely has done away with the actor/celebrity’s ability to constantly manage his image.

  One of the few places where an actor/celebrity can do so today is the talk show. In this setting, hosts do not want to antagonise their guests, or no one will want to grace their couch. Depending upon the host, the format is usually well established, so that host and guest - and the audience - know what will be asked or answered during a show. Few surprises take place, unless the guest decides to do something out of the ordinary or say something indiscreet or provocative. Most of the time, the guest determines how the conversation will go or how to react to the host’s sometimes silly but usually innocuous requests. In short, as much as possible in a public forum recorded and replayed for millions, the talk show is a setting where the guest can control perceptions far more easily than while being photographed, for example, eating lunch, walking with friends from a cinema, or carrying luggage through an airport - all settings where Cumberbatch has been photographed and everything from his attire to attitude critiqued in headlines.

  Media frenzy was especially apparent during the double whammy of Sherlock filming and national premieres of Star Trek: Into Darkness, and Cumberbatch was booked on talk shows in the U.K. and U.S. to promote Into Darkness around the schedule for filming Sherlock episodes. In the U.S., Cumberbatch primarily had been featured in entertainment news, ranging from media reports that touted his heavy work load (like those in Variety or The Hollywood Reporter) or television interviews broadcast from red carpets to cable networks like MTV or E!. Star Trek publicity in the States afforded him a wider mainstream audience who might not yet be familiar with Sherlock or Cumberbatch’s previous television or film roles. For the first time, Cumberbatch was invited onto the talk-show couches of David Letterman and Jimmy Fallon, as well as popular morning news-and-entertainment show Today.

  Although most Cumberbatch fans undoubtedly had already found a way to watch the actor on The Graham Norton Show recorded soon after the London Star Trek premiere, the episode was first broadcast in the U.S. on BBC America at the start of what proved to be a very busy few days for talk show-following American fans. Cumberbatch fielded questions on NBC’s Today (in the 10-11 a.m. EDT time slot) and CBS’ Late Show with David Letterman (11:35 p.m.-12:35 a.m. EDT) on May 9 and was a guest on May 10 on NBC’s Late Night with Jimmy Fallon (12:35-1:35 a.m. EDT).

  These shows reached different audience demographics. Ratings published for the week of May 6-10 showed that Letterman averaged 2.7 million viewers, and Fallon was watched by 1.7 million, winning its time slot.[36] Fallon’s audience typically skews younger than Letterman’s, but the combination provided Cumberbatch with a much wider demographic who could get to know him - or develop an opinion about his public persona - based on these appearances.

  Cumberbatch briefly (sometimes within only a few seconds) had to make a positive impression via mainstream U.S. entertainment media that reached millions of potential moviegoers (and new fans). His wardrobe, demeanour, and body language were just as important as his words.

  The Graham Norton Show

  Cumberbatch’s appearance on The Graham Norton Show[37] is a good indicator of his budding-movie-star persona. Immaculate in a dark suit, the actor looked formal and professional, his demeanour relaxed to the point that, late in the show, he lounged (as much as someone with good posture can slouch on the couch). When host Norton teased him about the name of his fans, Cumberbatch “acted” embarrassed with obvious mannerisms at the term “Cumberbitches” and suggested an alternative: “The Cumber Collective”. He has made similar comments before, and during much of the show he gave safe, expected responses to Norton’s questions.

  For example, he retold the Star Trek story that had already been shared on the Inte
rnet after a previous media interview. Cumberbatch’s castmates played a prank by telling him to wear dots of “neutron cream” on his face to protect himself from low-dose radiation in the facility where they were filming. Of course, there is no such item as neutron cream (and there was no radiation requiring safety precautions). Nevertheless, Cumberbatch believed his co-workers and dutifully shielded his face, to their great delight. The story allowed Cumberbatch to seem much less observational than Sherlock, but also more human and approachable as a celebrity.

  During one segment, Norton asked fans how far they had travelled to be in the studio audience. When a few who journeyed hours by bus or plane to see Cumberbatch identified themselves, the actor bounded up the stairs to bestow hugs and buss cheeks - a move guaranteed to endear him to fans. It also encouraged fellow Star Trek actor Chris Pine to do the same for those “Pine Nuts” who likewise travelled a long way. The activity seemed unscripted, spontaneous fun, but it also reinforced the image of Cumberbatch as a man who publicly thanks his fans for their support.

  The Graham Norton Show also provided an opportunity for Cumberbatch to initiate an interaction with fans in a controlled environment (i.e., he was not going to be mobbed on camera). This has become the reality of Cumberbatch’s new level of fame. He must balance communicating directly with fans and safety for himself and others.

  Unlike in some television interviews, in which Cumberbatch displayed nervous mannerisms (e.g., the thigh rub/pat, hand-brush over his head), with Norton the actor’s gestures were far more controlled, his speaking pace conversationally slower, and his tone evenly warm and inviting. In short, Cumberbatch came across as friendly, humble, humorous, and appreciative - everything the public could want from a star.

  Late Show with David Letterman

  In contrast to Cumberbatch’s easy familiarity with Norton, the actor had possibly the most awkward interview of his career on Late Show with David Letterman.[38] Cumberbatch was forced to comment on his facial expressions compared to those of otters and watched a humorous fake clip before the real Star Trek scene was shown.

  Like many viewers worldwide who later watched the interview online, Cumberbatch did not quite know what to make of some of the host’s comments. Letterman referred to Star Wars instead of Star Trek (long before rumours about Star Wars casting involved Cumberbatch). Whereas long-time Late Show fans recognised the host was “just being Dave,” Cumberbatch fans criticised Letterman and wondered if he was the reason why the actor seemed so nervous. However, Cumberbatch won over Letterman with the quality of his Star Trek acting. The host complimented the actor after watching a brief clip: “No offense to the rest of the cast, but you really don’t need much more than you”.

  Fans around the world discussed this interview more than any of Cumberbatch’s other Star Trek promotional appearances, whether because Cumberbatch came on after a segment with zoo animals, seemed nervous (or simply tired) when talking with Letterman, or put up with his zany, seemingly uninformed comments.

  Despite criticism about Letterman’s style, the interview provided insightful information for Americans who, like Letterman, knew very little about the actor or his career. Cumberbatch described an early audition, his teaching duties in Tibet during his gap year, and Khan. He alerted potential new fans to a previous role in War Horse and came across as intelligent, thoughtful, and well spoken.

  With Letterman, Cumberbatch’s formal “Britishness” was also on display. Not only did he admit he overdressed for the occasion, but his audition story was about playing James Bond. When first introduced, he quietly asked the host where he should sit and later to which monitor to direct his attention. He looked like a Letterman newbie (which he was), but this is not criticism. Cumberbatch differed from the glib, flamboyant, often supremely outgoing (usually American) guests sitting in the interview chair; he was memorable because his interview had some substance amid the filler.

  Today

  Cumberbatch’s brief appearance on Today[39] was polished and relaxed. Dressed more casually than he was for Graham Norton or Letterman, the actor seemed more laid back. His sound bite-sized answers in the ninety seconds allotted to his interview gave audiences the neutron cream story and a brief introduction to his role in Star Trek. He mentioned previous roles as scientists Stephen Hawking and Werner Heisenberg that Americans just getting to know him may not have seen or even known about; he listed roles from television and radio, as well as the film he was promoting. Cumberbatch was succinct, well spoken, well dressed, confident, still humble, and sexily deep voiced. He exuded star power.

  Late Night with Jimmy Fallon

  Late night audiences saw a very different Cumberbatch on the evening following the Letterman visit. With Letterman, the actor was a good sport when teased about photos comparing his expressions to those of an otter. With Fallon, Cumberbatch carried on a conversation and helped determine the direction the interview would take. Of course, Fallon helped set the tone for the five-minute segment by enthusiastically praising the actor’s work on Sherlock and giving Cumberbatch a chance to mention his joy in doing the series. When Fallon provided an obvious introduction to a game that Cumberbatch said he and co-star Martin Freeman play during downtime on the Sherlock set, the actor showed off his ability to do impressions. He also turned the tables on Fallon by having him do an impression as well.[40]

  The only problem with this interview is one that critics of Sherlock bring up as well - the speed of Cumberbatch’s speech. He and Fallon set an “off to the races” pace as soon as the actor sat down, which was helpful in allowing them to cover several topics in the short time allotted for the segment, but Cumberbatch also stuttered occasionally or nervously rubbed his face while explaining the impressions game.

  As most U.S. hosts have done, Fallon marched over ground previously traversed by so many other interviewers that fans could probably recite the answers to the questions posed to Cumberbatch. “Cumberbitches” always seems worthy of discussion by the host and remorse, on the basis of feminism, by Cumberbatch. A viewing of Sherlock-inspired fan art led to a funny story of Cumberbatch’s fan moment with his idol, Harrison Ford.

  By the time Fallon was ready to show the Star Trek clip, the pace of the conversation seemed less frantic and more genuine, especially when Fallon mentioned that he had read that Cumberbatch teared up for a moment on the red carpet during Star Trek’s London premiere. Cumberbatch admitted that he had, adding that he had tried to brush off a fan’s concern by pretending the wind had made his eyes water. It took all of four minutes to get to this point, but Cumberbatch seemed less celebrity and more “one of us” as the interview continued. The host and guest seemed to hit it off, and, not surprisingly, when Cumberbatch had another film to promote later in the year, Fallon invited him back.

  Of three interviews within twenty-four hours shown on U.S. television, the ones from The Graham Norton Show and Today are by far the better as far as development of that movie star persona. Cumberbatch looked suave, confident, yet still approachable from those reach-out-and-hug moments with fans or his perfectly timed responses to Today’s questions. His voice was lower and sexier, and he looked like a man in charge of his destiny, reaping the public benefits of some very hard work. However, the Letterman interview presented a self-effacing yet still confident actor who, even when thrown into some unexpectedly silly situations, gamely dealt with them.

  Abrams and the Infamous Khan Shower Scene

  When Cumberbatch began receiving immense critical praise for his acting in Star Trek, he became an even more effective marketing device to be used on U.K. or U.S. talk shows to promote the film. Abrams generated far more publicity for Cumberbatch - and with far-reaching impact on his celebrity image - than anyone initially would have suspected when the director promoted Star Trek on Conan a few days after Cumberbatch’s U.S. interviews had been broadcast.

  Abrams faced backlash about a gratuitous “m
ale-gaze” underwear shot of Alice Eve’s character, Carol Marcus. In one scene, Marcus asks Kirk to turn his back while she changes clothes for an away mission. He peeks, and the camera focuses on Marcus, arms held away from her body so that the camera can “gaze” upon her lingerie-clad form. The camera tilts up to fill the frame with Marcus’ body and “put her on a pedestal” with the shot. Thus, it becomes a lingering “male-gaze” camera shot idealising a woman’s body so that, presumably, male viewers can enjoy the view.

  On late night talk show Conan, instead of effectively apologising to offended fans, as many Trekkers and feminists expected, Abrams presented a deleted “female-gaze” shower scene of Khan.[41] This scene had been cut from the film, which immediately placed it in a different category from the “male-gaze” shot. However, its removal from the final cut made the scene exclusive to Conan (until it was shared online and took on a life of its own). In the “female-gaze” scene, the camera slowly pans up Khan’s body, from roughly waist level to his face. The camera lingers on Khan’s glistening chest.

  The shift in focus from male- to female-gaze cinematography did little to endear Abrams to Trek fans in general and caused social critics to wonder at the director’s decision simply to switch the sexual emphasis to a male character. Host Conan O’Brien predictably heightened the clip’s sex appeal by adding “brown cow” or “porn” music, much to the audience’s and Abrams’ amusement.