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Best Sherlock Episode Netflix

author
Maria Johnson
• Tuesday, 19 January, 2021
• 8 min read

But there's precious little meat on the bones of this 90-minute romp, with the limp and obvious mystery weaved into John and Mary's wedding ceremony landing it firmly bottom of our pile. It improved dramatically (see below) but series four of Sherlock got off to a rather underwhelming start with this episode digging into Mary Watson's past as a lethal government operative.

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Contents

(For those of you wondering, one of John's blog posts on the official Sherlock site confirms that they broke up off-screen at some point after the Moriarty/swimming-pool encounter.) It gets lost in straying a little too far from the source material, though does feature one of Benedict Cumberbatch's best performances as a rather less brazen, more agitated Sherlock.

Short but sweet, this mini- episode bridged the gap between the second and third series, exploring the period where Sherlock was believed dead (by everyone except conspiracy theorist Anderson). Martin Freeman does particularly strong work, with John having overcome his initial rush of grief but still struggling to entirely move on from his old life.

The big Euros reveal in the closing scene ended up being the biggest talking point, but the real stand-out in 'The Lying Detective' is Toby Jones's spectacularly creepy performance as Culvert on Smith, a villain who came closer than any other to finishing off Sherlock for good. Defying the rule that every middle episode had to be a bit of a duffer, this was a marked improvement on 'The Six Thatchers', with Cumberbatch and Freeman on particularly strong form as a haunted Holmes and heartbroken Watson.

'A Scandal in Belgrade' gave us a thoroughly modern Irene Adler (Lara Puller) who was every bit a match for our now-beloved male leads. 'The Reichenbach Fall' It was a tough call, but series two's finale just about pips its premiere, just for its sheer emotional impact.

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John’s desire to maintain some kind of personal life was portrayed in stark contrast to Sherlock, and at this early stage of their friendship, the episode was key in demonstrating their slow navigation towards understanding each other. The moor location allowed the story to be taken outside of London, and offered some gorgeous visual opportunities for the audience.

But John’s fear and Sherlock’s self-doubt made this episode what it was, creating a mystery that was genuinely scary, rather than just tense. This episode was about Sherlock and John attempting to rekindle their friendship, and it provided a great jumping off point for the remainder of the series.

It’s been a raucous ride hanging out with Sherlock Holmes (Benedict Cumberbatch) and Dr. John Watson (Martin Freeman) over the past four seasons and almost seven years. As we learned in the most recent episode of Sherlock, emotional context matters, which is why “The Empty Hearse” was such a disappointment.

After a Season 2 cliffhanger that saw Sherlock fake his own death in front of John, breaking his best friend’s heart, this episode had one major job: to deal with the emotional fallout from that decision and Sherlock’s inevitable return satisfyingly. “The Empty Hearse” was the first episode of Sherlock that really failed at what it needed to do, marking an unfortunate downturn in quality (or, if you’re being generous, a shift in the kinds of stories this show is interested in telling).

Inevitably, Sherlock manipulated John into forgiving him by making him think they were both going to die in a fiery explosion, which is not really how emotions work. John is then forced to decide if he will forgive his pregnant wife for her deception (and, you know, for shooting his best friend).

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In addition to it all, Sherlock works to get Mary (and, by extension, John) out from under Charles Rasmussen’s thumb. Like much of the rest of Sherlock Season 3, “His Last Vow” had some good moments, but was weighed down by its larger-than-life plot twists.

As Emily Asher-Perrin points out in her excellent review of the episode over at Tor.com, this flat depiction of Euros not only feels like a plot hole, but undermines one of Sherlock’s underlying themes: By painting extreme intelligence as this frightening problem, the episode lands a vague assertion that once a person hits a certain level of genius they are automatically a sociopath, incapable of seeing the value in life and morality (not a fascinating or accurate assumption to go on).

When you’ve spent an entire television show proving that just because Sherlock and Mycroft Holmes are smart doesn’t mean that they don’t have feelings or value people, drawing their sister in a way that deliberately conflates her remarkable intelligence with an ability to place value on life is neither smart nor believable. Instead, “The Six Thatchers” quickly devolved into a spy melodrama, with Mary taking off on a round-the-world trip, Sherlock and John tracking her down in Morocco, and Mary eventually defying the laws of physics to jump in front of a bullet meant for Sherlock.

The detective is still on the plane we saw him on at the end of “His Last Vow,” trying to decide if there is any chance Moriarty is still alive by playing through an unsolved case of a woman who seemed to rise from the dead to kill her husband in Victorian England. What’s less effective is the mystery itself, which starts off well enough, but soon devolves into Sherlock mansplaining proto-feminism to a bunch of murderous Suffragettes.

In the end, “The Abominable Bride” had its delights (not to mention classic Holmes references), but it was hard not to reconcile the necessity of an “It was all a dream” episode when we get so few installments of this detective drama to begin with. The Season 1 episode you probably don’t remember that well, “The Blind Banker” is a vestige of a show that was at its peak creatively, but still managed to fall into some seriously lazy Orientalism.

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“The Blind Banker” is the second installment of the detective drama, and the first episode that really sees Sherlock and John settling down into some kind of crime-solving-roommates routine. This was a simpler time, when the show was still grounded in reality, when John had fights with self-checkout machines at the supermarket and went on bad dates with his clinic boss, Sarah, that turned into kidnappings.

Their co-dependency has officially begun, but it's in the throes of its honeymoon period so, even though in hindsight you know it’s going to cause some serious problems down the road, you can’t help but get caught up in the giddy wonder of it all. A perfectly competent case episode, “The Hounds of the Baskerville” is as close as Sherlock will probably ever get to a procedural.

It transcends the typical TV case-of-the-week episode, however, with some nice character moments, as we see both Sherlock and John forced to deal with real, raw fear. It’s also refreshing on this show to get such a direct translation of one of Sir Arthur Conan Doyle’s original stories.

Ultimately, the “Hound of Baskerville” is a fun, memorable episode of Sherlock that isn’t overly ambitious, but tells an entertaining, grounded story. Also, the always welcome Russell Today appears as poor, frightened Henry Knight, which gives this episode extra guest star points.

Toby Jones brings what could have been a lackluster, underdeveloped villain to chilling heights with his performance, as Sherlock uses the master criminal to manipulate John Watson into forgiving him for Mary’s death. It’s a classic Sherlock move that makes his character less and less likable the longer you think about it, but also serves to provide an over-arching focus for this episode, which has become a rarity in recent seasons.

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“The Lying Detective” is also one of the few recent episodes of Sherlock to effectively pull off a twist that is both surprising and interesting with the reveal of Euros Holmes. Though the character would go on to be sloppily and inconsistently developed, her turns as a fake Faith Culvert on and John’s German therapist in “The Lying Detective” are masterful.

And, again, though the cliffhanger that sees Euros shooting John after revealing her identity to him is anticlimactically resolved off-screen, it was a chilling end to this episode. Perhaps the best part of “The Lying Detective” was its return to a novel, cohesive visual style that made early episode of Sherlock so impressive.

In Sherlock’s absence and John’s grief, Lestrade seemed to step up to do a lot of the emotional labor. The conclusion to Sherlock Season 1, “The Great Game” was the episode that tied the Moriarty clues together and gave us the first appearance of the consulting criminal played masterfully by Andrew Scott.

After a season of relative low-stakes fun, everything became much more intense in “The Great Game” as Moriarty led Sherlock on a devastating goose chase where real people’s lives were at stake. Inevitably, Moriarty kidnapped John and strapped some bombs to him for good measure, forcing a hostage situation that articulated just how much these two had come to mean to one another over the course of their short friendship.

Thematically, it was the perfect cap to the season, hammering home the point that, while Sherlock might act like he doesn’t care, he really, really does. Also known as the one where John Watson and Mary Morgan get married, “The Sign of the Three” uses Sherlock’s best man speech as a frame tale for much of the action of this episode, as he tries to solve the case of The Mayfly Man in front of an entire wedding hall of people.

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Refreshingly, it doesn’t present Mary as an obstacle to their friendship, but rather incorporates her into the two-now-threesome, while also giving some time to the central duo. “A Scandal in Belgrade” is a near-perfect episode of Sherlock that unfortunately doesn’t stick its landing, as it gives us an adaptation Irene Adler who manages to be even less progressive than the one depicted in Conan Doyle’s original work.

It does all this while also giving us a nice helping of 221B Baker Street’s goings-on (including a memorable visit to Buckingham Palace). The episode that started it all,“A Study in Pink” gives us a Sherlock Holmes adaptation thoroughly grounded in the modern day.

(Or the second beginning, if you count the unarmed pilot, which proves just how much this show’s visual style matters to its story.) This is the real mystery that needs solving in “A Study in Pink,” as John Watson gathers evidence for us from people like Greg Lestrade, Sally Donovan, and Mycroft Holmes.

There’s something heady and addicting about the idea that Sherlock Holmes is the true mystery of this show, and no one but John Watson has ever stuck around long enough or been given enough vulnerability to answer it. “The Great Game” may have been the first Sherlock episode that upped the stakes, but it was “The Reichenbach Fall” that pulled the trigger.

If post-Season 2 Sherlock has too often been a show without consequence (and, therefore, without a tangible sense of stakes), then “The Reichenbach Fall” demonstrated how good Sherlock can be when every decision, every action has weight, like when there is no easy or good solution, only the lesser of two terrible choices (something “The Final Problem” tried to repeat, badly). It started with Moriarty’s stylish robbery “attempt” of the Crown Jewels and slowly escalated until every one, but John Watson believed that Sherlock was the criminal.

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