• Mark McCullough

    Excellent Review!

  • ShalkaDoctor

    Wish they’d have kept it as a straight Victorian side story instead of trying to be clever. It’s part of the problem with the show these days. It feels like Moffat & Gatiss are trying too hard to be smart instead of just focussing on a case and developing the characters through that.

    The feminist themes are also too heavy handed and feel like Moffat is trying to appease his detractors.

    Sherlock needs to go back to basics and realise what made it great.

    • The Exploding TARDIS

      I don’t think there is anything wrong with feminist themes. They actually helped make this the best episode of Sherlock ever, in my eyes.

      • Edward Delingford

        Oh, completely agree. Those themes were handled so adroitly. I personally don’t think Steven Moffat has to defend or counter anything in relation to feminism and why does he need to. He has always said that Doctor Who employs the best writers and directors, regardless of gender and Sherlock is the same.
        The use of the suffragettes made perfect sense in the context of the episode and historical period and added to the interest in the case.
        I also think this is right up there with the best Sherlock episodes to date and certainly the one with the best production values. It was so great to se the wonderful Andrew Scott again.

  • Christoph The Sky Sorcerer

    I feel like Moffat needed to throw in that mind-screw in the very last scene of the episode. It wouldn’t have felt right without it.

    In all seriousness, this was very good, if rather weird. The story actually reminds me a lot of the Doctor Who episode “Amy’s Choice”, what with two realities playing out at once. I’m also glad we got at least a hint of answer about what happened with Moriarty, even if we will probably have to wait another year for a definitive answer.

  • John Smith

    To me, this is easily the best Sherlock episode thus far, even edging over the phenomenal Scandal. I literally jumped out of my seat after that “it’s the landing that kills you” line.

    The feminist (cultural) take on the dysfunctional Victorian times, the repeated parallels of gun blowing off the head, even the hint of a secret twin. It’s also quite interesting to note how Sherlock sees his brother as the Clever One within his own mind palace. Watson playing the role of the bumbling sidekick for Sherlock’s sake, which he acknowledges. And of course the numerous adapted ideas with Doctor Who, still feels absolutely ingenious.

    The one-and-only slight niggle I have is with Mary’s over-efficient retrieval of information. I get that the writers’ are making the point Mary is extremely good, but on a scale way above the Holmes boys, without any demonstration, is a little over the top. Still, Mary is the best addition to the boys possible.

  • Edward Delingford

    Superb conceit carried out to the levels of perfection in acting, direction and production we have come to expect from Sherlock. Steven Moffat and Mark Gatiss once again show us their rigorous brilliance in this multi layered piece of television which demands multiple rewatches to capture every little piece of gold. Add to the extraordinary year which Doctor Who has seen under Moffat’s leadership and it is certainly clear that this is not a writer eeking out his last, rather one whose creativity is at its peak and who continues to provide astoundingly good entertainment for those willing to trust him and just jump in.

    10/10 from me and I wonder if we’ll see much better this year.

  • Alice

    Moriarty is the real star of the show