![]() But when the façade finally came crashing down, and the focus shifted to Moriarty, I was suddenly left wondering what the point was. While I was under the delusion that the Ricoletti narrative was true, I enjoyed it immensely-it was a prime period romp, full of great visuals, cracking dialogue, and more fake facial hair than you could shake a stick at. Not only were there stories within stories, there were also mind palaces within mind palaces-and for me, this is where the episode faltered. In fact, it was so meta that I almost had a meta-crisis and regenerated into Idris Elba. Secondly, I did not expect the episode to be so meta. The episode would have worked just as well as an alternate-universe story. Yes, we now know that Moriarty is both 'dead' and yet somehow 'back', but they're obviously saving any further elucidation for next season-which did feel like something of a cheat. Did the present-day tie-in offer anything worthwhile to the story? Obviously it was something of a shock to see modern-day Sherlock suddenly appear-and I love it when the writers try to mess with us-but they really didn't offer any explanation as to Moriarty's return in the series proper. ![]() All of the pre-episode build-up suggested a purely Victorian-era yarn. Still, with the festive season still in full swing, that was probably the effect they were hoping for-and it kind of worked.įirstly, I did not expect tonight's episode to have a modern-day component. Half of tonight's episode played like a Victorian chiller, the other half was like watching panto. Despite being cut from the same cloth as a regular season, there's just so much more space to muck about in. I suspect we're going to have to start viewing Sherlock specials in the same way we view Doctor Who Christmas specials. ![]() Moriarty: 'It doesn't make sense, Sherlock, because it's not real. ![]()
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