Sherlock Holmes is probably my favorite fictional character ever created. I have read the stories, seen countless films, watched almost every television adaptation, and have even listened to various radio shows dating back to the 1930s. I find the character relatable, especially when it comes to his views on the world and what he sees as important. Sherlock has been a great series so far, with the first two seasons being outstanding, and the third season and Christmas special being good. It has been a few years since the last season, but the hiatus has ended and Holmes has returned. Let us see if the game is afoot. There will be some spoilers ahead.
One thing that has remained constant throughout each season of Sherlock is the acting. Once again, Benedict Cumberbatch gives an all-out performance as the manic detective. This version of the character is exaggerated in almost every respect, which does not always sit well with me, but Cumberbatch's performance makes up for it. He embodies the character with unmatched conviction and gravitas. His performance in "The Lying Detective" was especially impressive. Martin Freeman's portrayal of Dr. Watson has been incredibly compelling because of how pragmatically he plays the character. However, Watson feels very sidelined this season. He hardly receives any focus, and by the end of it all, you could make an argument that Mycroft and Mary had bigger roles. It is such a shame because Freeman plays the character so spectacularly.
Mark Gatiss continues to be a magnificent Mycroft Holmes. He captures the the core personality of the character and the air of dignity he carries. Rupert Graves has made for a really good Lestrade, but he is terribly underused in this season. Una Stubbs is a delightful Mrs. Hudson and Louise Brealey is charming as Molly Hooper. Amanda Abington does a fine job playing this version of Mary, however Mary is simply the latest in a long line of female characters written by Stephen Moffat. Moffat has written the same type of female character dozens of times between Doctor Who and Sherlock. I am tired of the sassy, clever girl who always has a witty comeback on hand. We need something new. Now, for this review, I will be breaking up the season into its three episodes and analyzing each one individually.
This episode is based on the short story "The Six Napoleons," one of my personal favorites. The first 40 minutes are entirely riveting. The case is intriguing, with a mysterious death that seems impossible (as they always do) involving a car explosion of someone who was supposedly in a different country. There are also many nods to the books. For instance, this episode introduces the character of Toby, a dog that Holmes will occasionally borrow for certain cases (which gave me an insane amount of pleasure). This episode also featured some very creative transitions. The first third of this episode proved to be exactly what we had been waiting for; a solid mystery with the characters we love. But then Holmes finds a memory key identical to the one Mary had last season. What follows is a melodramatic adventure about Mary's past, and I could not be more disappointed.
I am fine with redefining characters for an interpretation to a certain extent. But changing Watson's wife into an assassin was too farfetched for my tastes. While I was upset with the drastic alteration to Mary's character, I was content when it seemed like her past would remain unexplored when Watson threw the memory stick into the fire. So you could only imagine my dismay when that bloody plot MacGuffin popped up again in this episode. The remainder of the episode revolves around keeping Mary safe and figuring out who is after her. The stories of Sherlock Holmes are charming because of how quaint they are. But throwing this overblown and overly dramatic tale into the blend spoils the mixture, as it contradicts the original intent of the show.
However, the episode did deliver something that I congratulate; Mary's death. That might sound grim, but hear me out. Although I did not hate Mary herself, I was not a fan of the direction they were taking her. By killing her, the show has effectively rid itself of any spy stories involving her, and it simultaneously frees us of another female clone that resulted from Moffat's writing. What I do not like is how Watson blames Holmes for her death. The fact that he does blame Sherlock is natural, but the way he does it is irrational, even for a man in distress. He claims that Holmes did not keep his promise to protect her, when in fact Mary sacrificed herself. This is a forced way to generate drama between the characters.
The Lying Detective:
This one is based on the short story "The Dying Detective," another one of my favorites. The most identifying feature here are the visuals. The manner in which this episode is shot and directed seems heavily inspired by the surrealist style that populated the silent era of cinema. The line between reality and hallucination becomes heavily blurred. The visual effects seem to have been upgraded considerably, as shown in the wonderful scene where Holmes explains how he knows the size of an apartment from a piece of paper. The editing can be extremely frenetic, ignoring cohesion and logic. Given the context of the episode, this style works wonders for the story. It is unique and effective, conveying Sherlock's descent into unbroken drug use artistically.
The actual narrative is decidedly absorbing. Though it is very loosely based on the short story, the basic plot points are still present, in that Holmes is gravely ill. Here, he seems to have gone off the deep-end in his drug use. Toby Jones makes for a deliciously despicable villain, as he chews the scenery in a remarkable way. Cumberbatch's performance in this episode is particularly powerful. The script allows for him to explore his theatrical acting capabilities, and damn is he good. The conclusion of the case is awfully satisfying and hits the right emotional notes. "The Lying Detective" is a great episode and a return to form for the show, but it does not come without its flaws.
For instance, some things just did not make any sense. In an episode like this, it becomes difficult to pick out what should function on logic and what should not, but I feel confident in my assessment. The first five minutes of the episode, which introduces us to Jones' villain, seems very out of place. It appears to set up an important plot point, but it is never mentioned again. I was also not a fan of Mary's haunting John. The episode would have been better served if all her scenes were omitted, instead focusing on John's struggle with Holmes instead of his internal struggle with his dead wife. Any deductions he would have made are given to her. Technically, it is still him because she is a figment of his imagination, but he is hardly given an intelligent line, which is something that has bugged me about the show. Dr. Watson is a very smart man; he is a doctor after all. But the show always underplays his ingenuity.
Another example is when Holmes is speaking to Faith, she does not appear on the security camera, which is meant to make us believe that he has imagined her. However, we find out later that he was indeed speaking with someone. So why was she not on the camera feed? While I am on that subject, I might as well address the elephant in the room. Although the resolution of the mystery is good, the way the episode ended did not appeal to me in the slightest. I cannot put to words how much I despise the creation of a third Holmes sibling. But I will give credit where credit is due; that was a brilliantly executed reveal. I will continue my thoughts on the subject when I speak of the final episode of the season.
The Final Problem:
This ultimate seasonal episode shares the same title as one of the original stories, but takes no inspiration from it, which is neither a good or bad thing. I now ask you to bear with me as I incessantly rant about Eurus Holmes. Something I always admired about the show is that it never delved into Sherlock's past or family life (much like the books). The Holmeses were not some important or notorious family, nor was there any drama between the members. It was just two highly intelligent children that came from ordinary parents; nothing more. But now, by introducing Eurus, the humble aspect of the show and what differentiated it from the countless melodramas that pollute our screens has been destroyed. The show now relies on big reveals to thrill the audience.
"Sherlock has a secret brother! But wait, it's actually a sister! But wait, she is highly dangerous! But wait, Sherlock doesn't remember her! But wait, Mycroft has her locked away in an inescapable prison! But wait, the parents think she's dead! But wait, she is also a genius! But wait, she is the one who taught Sherlock how to play the violin (yes, that's an actual reveal)! But wait, she can hypnotize people...kind of! But wait, she actually runs the prison! But wait, she had a meeting with Moriarty! But wait, she planned out all of this to capture them and force them to play her games! But wait, she is the one who killed Sherlock's dog! But wait, it wasn't a dog; it was his best friend! But wait, the little girl on the plane is actually Eurus' mind palace!" I am sure I have missed a few, but you see my point. Rant over.
Now for the actual episode. "The Final Problem" is a thrilling, suspenseful hour and a half that will keep you on the edge of your seat...as long as you turn your brain off, which is not something I should be saying about a crime/mystery show, especially one about Sherlock Holmes. This episode is good at generating artificial tension so long as you do not ask any questions. So many moments lack common sense. For example, Watson wakes up at the bottom of the well, chained to the floor. How exciting! But who chained him there? Eurus? Because if so, she would have had to chain him and then come back up. Also, when John is rescued, a rope is thrown down and he grabs it and proceeds to climb out. But he was chained to the floor. Why did Eurus reconstruct a cell in front of the old home? For dramatic purposes? That is a bit far. And you are telling me that Eurus carved out fake dates on numerous tombstones at the age of six...by herself? There are too many planetary leaps of logic. There is suspension of disbelief, and then there is this; borderline science fiction.
However, the episode does have some great moments. Firstly, Sian Brooke plays Eurus very well, despite by abhorrent nature towards the character. The scene with the drone carrying the grenade is categorically heart pounding; the reveal of Mycroft's and Holmes' disguises is awesome; and Moriarty's supposed return was a wonderful tease. I am personally happy that the character is still dead, otherwise we would be delving into the genre of fantasy. There are also plenty of references to the original stories. Redbeard turns out to be Victor Trevor; the Musgrave Manor makes an appearance; the cipher of the Dancing Men is displayed on a chalkboard; the three Garridebs are shown; and much more. My favorite moment however is when Mycroft asks John to leave the sitting room, but Sherlock insists he stay. Mycroft says it is a family matter, and Holmes bursts out "That's why he stays!" This might actually be my favorite scene of the entire show, right up there with Watson guessing Holmes' birthday in "The Lying Detective" and Holmes' breakdown in "The Hounds of Baskerville." It humanizes this enigmatic character and establishes how important Watson is to Holmes. I adored this scene.
Sherlock series 4 has been a long time coming, and I am not certain that it was worth the wait. The actors are on top form, as always, and there is no shortage of excellent moments, but the show seems to have taken quite a stumble during its holiday. I thoroughly enjoyed "The Lying Detective" and the first act of "The Six Thatchers," but barring this and a few extra instances of brilliance, the show has become too overblown for its own good. The "Miss Me" and "Save John Watson" plot lines are very weak and Moriarty's inclusion in this season was entirely unnecessary. I truly miss the days when Sherlock was about solving cases and the titular detective was fallible. But now, Holmes seems just short of godly omniscience in his knowledge and every episode must have some big twist that creates false drama. What is worse is that this could be the last season, in which case I would be severely disappointed that Sherlock went out with a whimper rather than a bang. If there is to be another season, I pray that Gatiss and Moffat take the show back to its roots, focusing on mysteries, eliminating inflated melodrama, and scaling down Holmes' intelligence back to what it used to be. Sherlock is back, but in name only because this is not the show we fell in love with. And as a Sherlock Holmes fanatic, it pains me to write those words.
Grade: C
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