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In the meantime, Sherlock is being slowly strangled in a secure room by Smith, who entered through a hidden door (naturally). Hudson, Mycroft and his agents poking around, and the re-discovery of Mary’s DVD. Culverton Smith then got plenty of time for goading and bragging and gnashing those mesmerizing yellow teeth in the macabre setting of the morgue (his “favourite” room) before Sherlock’s final nerve snapped in the wake of the revelation that he never did, in fact, made Smith’s daughter – the lynchpin of his case.Īs Sherlock is forced to recover in the hospital from, amongst other things, the almighty punch Watson (finally) gave him in the ensuing ruckus, a classic ‘slowly unfolding peril’ scenario was set up, whereby John finally begins to figure out Sherlock’s behaviour – with help from Mrs. The conversational foreplay ratcheted up the tension as Smith’s obsequious mask slipped neither in front of the children on the ward nor its staff (including the wonderful Katy Wix as a nurse – vaguely brutal, as always, and here in her assessment of John’s blog having gone “downhill” recently). Having the climax of the episode – the confrontation between Sherlock and Smith – take place in the hospital wing that Smith has built summoned a sense of foreboding a predator inviting its prey into its den. H were answered, Molly (Louise Brealey) still had little to do other than examine Sherlock and display her best ‘oh Sherlock!’ pained expression when warning him that he was weeks from death if he kept shooting up.
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Hudson (Una Stubbs) is also surely now the owner of the best entrance into an episode of Sherlock, speeding and swerving like a total bad ass in her luxury sports car – give that woman a spin-off the mind boggles at the full extent of her backstory! Although last week’s prayers for Mrs. Hudson together – which he managed to mastermind weeks previously with a bit of the old deduction. The intricate plot weaving that follows Sherlock’s ‘anyone’ brainwave with the case is quite impressive, as he calls out Culverton Smith online (and Twitter, much to John’s horror) whilst ‘summoning’ Watson, Molly and Mrs.
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There’s quite a thought-provoking musing on the phrase “taking one’s life” in this scene as suicide, points out Sherlock, “happens to everyone else” so “your life is not your own, keep your hands off it.” This depth is always welcome alongside the entertaining glibness of Sherlock – as is Cumberbatch in Shakespeare-spouting mode. Sherlock’s crumbling mind palace has meanwhile been invaded by the troubled Faith with – would you believe it – a fragment of memory from the meeting! The detective’s somewhat uncharacteristic pity for her results in a trip for chips and a stroll around nighttime London, which has the fabulous dual purpose of spelling out ‘FUCK OFF’ to Mycroft (Gatiss) and his tracking Spooks. A sensible and affecting writing choice: he can’t let her go yet.
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These are clever and devious nods to what theorists might have predicted unfolding, before it’s revealed that Mary is a figment of John’s grief. Barely a few minutes into the episode and there’s a quick lurch of shock when he appears to have company in bed (immediate reaction: it’s ‘M’) and then it’s revealed to be Mary (Amanda Abbington) he’s hiding (immediate reaction: wait, she didn’t die after all?). As the genius detective struggles to fire on all cylinders with so much smack in his system (the dealer’s moved in, setting up shop in Sherlock’s kitchen), things seem to be going rather better for Watson and his new therapist. Sherlock, meanwhile, is in pieces and Watson (Freeman, doing so well as the thinking woman’s crumpet) is in therapy.