Much like Sherlock, the show’s big reveal was that the mastermind behind a few seasons’ worth of torture and mind games was a sister obsessed with a younger sibling and locked away for being a psychopath - although deep down, she just wants to be loved. Wait, this isn’t “Pretty Little Liars”? You’d be forgiven for wondering if you’d switched to the wrong channel, because the Greatest Detective has taken a few leaves out of the ABC Family/Freeform show’s playbook. ‘All the Light We Cannot See’ Review: Shawn Levy’s Schmaltzy Netflix Adaptation Misses the Mark Déja VuĪfter several seasons of game playing, faked deaths and disguises, the truth is out – Euros Holmes is A. It’s suitably creepy, but presumably saying, “We know she’s alive because she just shot John with a tranquilizer gun” would have also done the trick. The Hammer horror-infused nightmare is just Sherlock and John trying to scare him into telling the truth about Euros. The opening of the episode is pure Gatiss - in what seems like it must be a dream sequence but isn’t, Mycroft is haunted by the voice of his sister (represented by what we assume is a little girl but is actually a small man in a wig), a clown, and portraits that weep blood. It’s just a shame the rest of the episode was such a mess, really. Although cast and crew insist that this isn’t necessarily the end, Steven Moffatt and Mark Gatiss wrap up their 13th episode on an elegiac note, musing on the legend that is Sherlock and Watson. Season 4 of Sherlock has galloped by - which is easy enough, when the seasons are only three episodes long - but it ends on an oddly final note. More on this later.LAST WEEK’S REVIEW: “The Lying Detective’ Gives Us Sherlock’s Most Terrifying Villain Yet She’s a dangerous character in her own right, and in the process Watson gains two formidable protectors – a sociopath, and a psychopath. But what is it? We don’t find out exactly, but revealing that she’s an ex-spy who stole her identity from another of the recently deceased – another Mayfly Man technique – suddenly makes her character more than a mere wife for Twitter to turn against. Sherlock discovering her in Magnussen’s office, threatening him with a gun, leads to the reveal that she is an excellent marksman with a secret past and that she will do anything, include killing both one of the most powerful men and one of the most gifted detectives in the UK, to protect her secret. That scene is also important because it defines the future of Mary Watson. In this world, no-one is truly good, nor truly bad, aside from Magnussen. It also means that Sherlock adopted one of the techniques of the Mayfly Man in the last episode, entering into a relationship with someone’s personal staff to get access to them, blurring the line between hero and villain. In one fell swoop, that scene defines the trajectory of the episode and tears down everything that came before it in the series, everything that had caused the first two episodes to be practically written off by angry, entitled netizens. Notably it all centres around “human error,” something Sherlock understands as the weak link in every chain, but also something that Sherlock falls prey to himself at the end of the episode, putting that chain of events in motion. This ends in disaster for everyone involved, of course, but it’s still a fun scene. Suffice to say, the lovey-dovey fun and games of last episode are well and truly over, apart from one hilarious scene in which Sherlock proposes marriage to his recent girlfriend Janine – Magnussen’s PA – to break into his office. From his first scene with Sherlock and Watson, as he makes himself at home at 221b Baker Street, we see that not only that he’s morally bankrupt but also that Sherlock appears to hold him in a quiet respect, recognizing him as his match in most walks of life. As the introduction of villains go Magnussen’s is more chilling than most, outing himself as both a power-hungry control freak and a sexual predator, made all the more horrifying by his completely blank expression.
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