Her approval works so well for the episode because she hasn’t yet had much space to be impressed by his deductive talent.
Despite all of this, Watson’s new wife, Mary, pronounces the audience’s inevitable verdict: “I like him.” Given the opening sequence, it’s hard to know how much of this is Moffat satirizing our expectations of Sherlock and how much is genuine action-hero screenwriting.
#REVIEW SHERLOCK THE EMPTY HEARSE FREE#
Yet panache dominates the episode: improbable deductions to free himself from a black site-looking prison (cut to Pierce Brosnan gun barrel sequence), specially smart tradecraft in a formal restaurant, and a longstanding plot to trick Moriarty into forcing Sherlock to fake his own death. Certainly some viewers would enjoy such action-hero panache, but we’re made to understand, early on, that this conventional smoothness isn’t, at all, who Sherlock is.
And Sherlock’s disdain for them parallels Moffat’s condescension to the his viewers, opening the episode with a wild bungee jump and James Bond-esque kiss of Molly, followed by a breezy departure. And yet he remains compelling, not just immensely likeable, but even lovable, an obsession for some viewers (myself included) which the showrunners not-so-subtly parodied with The Empty Hearse Fan Club.
All of his flaws were on high display, and they were made all the more irritating by his inability to apologize. It was genuinely enjoyable seeing Holmes back on the screen, even though, last night, Sherlock’s self-absorbed callousness was especially in-your-face – sort of making me wonder why I like BBC’s Holmes at all. BBC’s Sherlock has become one of my favorite shows on television, and it was immensely fun having some new material and quelling the peremptory curiosity left by the end of last season.
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