![]() ![]() But the idea itself is a compelling twist on the cliche that could’ve served as the impetus for the narrative’s setting. The plot’s organization is the most difficult part of the experience I didn’t have trouble understanding it on my first viewing, but I can definitely see how other viewers might become confused by the episode’s structure. Moffat and Gatiss’ story starts out as a typical Sherlockian whodunnit, but soon becomes a complex psychological battle, the details of which I won’t spoil here. Yet The Abominable Bride is anything but a straight Victorian adaptation. Terrifically delivered performances bolster the sense of authenticity, especially in the case of Benedict Cumberbatch toning down his Sherlock’s acerbic tendencies, he instead captures the twinkling eyes and calculated ego of Conan Doyle’s Holmes. With its ghostly titular antagonist and creepy, fog-filled sets, the show indulges its Gothic roots, a display which is welcomed after the somewhat lackluster attempt at horror in “The Hounds of Baskerville.” References both subtle and obvious are sprinkled throughout, and time-bound elements of canon get their chance to shine. Watching this special is to witness the cast, crew, and especially the writers making merry with their original source material you get the sense they’ve been aching to do this for years. In this critic’s opinion, the answer to that last question is a resounding yes. How would the writers react to the removal of today’s crime-solving technology? How would Sherlock and John sound calling each other Holmes and Watson? Could Sherlock adapt to the past as well as it had done to the future? By entering the new period, storytelling is both facilitated and challenged: Moriarty becomes an even more implacable threat with the assistance of anonymous texts and suicide bombs, but his nemesis has the Internet to back up his vast deductive skill.įor three seasons, viewers have ensconced themselves in this new reality, which made the possibility of returning to the old world in the lead-up to January’s Victorian-set The Abominable Bride seem more daunting than previously imagined. One of the most consistently amusing aspects of the show is watching writers and series creators Steven Moffat and Mark Gatiss alter the elements of the stories for modern times. In the many years since, it is ironic to note that modernization remains at the core of the BBC’s Sherlock, now arguably the most popular interpretation of Holmes in the twenty-first century so far. For readers of The Strand Magazine in the Victorian era, the ever-growing wave of unstoppable social, economic, and technological change made the prospect of returning to a world perpetually basking in the familiar trappings of 1895 a comforting release. ![]()
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