I’ve always balked at the idea of writing a wrap-up post for Sherlock, though I make sure to always bump it up my viewing list. Even if I don’t end up watching the episodes as they premiered, two weeks was the longest that I’ve ever been late to viewing (with the exception of the special The Abominable Bride, which I completely forgot about). I’m not more confident now with my abilities to write an appropriate blog entry, but given that there’s a lot of talk about how season four might just be the last season of Sherlock ever… well, here we are.
Sherlock Holmes (Benedict Cumberbatch) has settled into a new normal. continuing to solve cases with his partner Dr. John Watson (Martin Freeman) and acting as, albeit in a limited capacity, godfather to the baby of John and Mary Watson (Amanda Abbington). All the while, he waits for Jim Moriarty (Andrew Scott) to begin the game anew.
If you’re wondering where the rest of the season summary is… well, I’m purposefully keeping it short. A lot happens in season four and Sherlock isn’t the kind of show you want to spoil for those who’ve yet to watch it. Whenever I get asked if it’s any good or what it’s about, I tell them to just go watch it. Thus, my perpetually unsure state when it comes to writing at the conclusion of every season.
There are many who claim this particular adaptation to be their favorite of the detective, his partner and the cases they solve together. And that’s saying a lot because Robert Doney, Jr.‘s take in the Guy Ritchie-helmed Sherlock Holmes films is a lot of fun to watch, and Elementary‘s twist with female Watson and Moriarty make for an interesting dynamic. But Sherlock is a different kind of special. The different parts that make it up aren’t entirely original, such as the rapid fire deductions spouted by Sherlock (shared by all the recent popular versions) and the modern setting (shared by Elementary), but the sum of all the parts plus the signature filming style of the series make for something memorable.
A lot of it has to do with the chemistry between Benedict Cumberbatch and Martin Freeman, their characters the embodiment of eccentric and everyman, respectively. Over the course of four seasons, their characters have grown into their relationship, even despite the continued arrogance of Sherlock and Watson’s new role as a family man. In fact, the inclusion of Mary in their dynamic is one of the best parts of the season, building on what Sherlock proved he was willing to do for the married couple at the end of season three. Mary, she of the former super spy status, recognizes the best in both men and understands enough what needs to be done to keep them together even if she’s no longer in the picture. Season four tests bonds and breaks hearts, and the tumultuous emotional journey for both Sherlock and Watson required fortitude on the parts of viewers.
And season four puts them through the wringer, with “The Six Thatchers” bringing a threat from Mary’s past clandestine life, “The Lying Detective” pitting Sherlock with a billionaire-philanthropist (Toby Jones) who could very well be a serial killer, and “The Final Problem” finally revealing the game that Jim Moriarty has in play for Sherlock. The cases couldn’t have been any more different, but there is an overarching story that ties them together, revealing just a little bit more about what makes Sherlock the way he is. A figure is manipulating certain events, ensuring that Sherlock, Watson and Mycroft Holmes (Mark Gatiss) are brought in to solve that final problem. The stakes are high and the outcome is hard to predict. On the whole, the season proved to be more cohesive than its predecessor and featured antagonists (for episodes two and three) that were chilling when they revealed their true natures.
While Sherlock, Watson and Mary are forefront in the narrative, the series still makes good use of its supporting cast. Mrs. Hudson (Una Stubbs) shows a bit of teeth, humorously (explaining why she owns a sports car) and ferociously (explaining to Mycroft how wrong he is about his brother). Molly Hooper (Louise Brealey) and Greg Lestrade (Rupert Graves) continue to provide help, although you wish Molly can move on from Sherlock already, because you really can’t compete with Irene Adler. Mycroft is more of a player in the season, instead of the mere supporting character with a mysterious government related background and who provides opposition for verbal banters with Sherlock. He’s a bit more fleshed out, when mistakes of his past comes to haunt him in the most personal ways. His sins in season two (and in the shadowed past prior to the series’s beginnings) are not without further repercussions, and his reactions to understanding that are the most human I’ve seen him in the series.
And Sian Brooke. Oh, dear, exceptionally talented Sian. I never saw you coming. But I’m glad to know your name now.
After watching the season, I finally allowed myself to read some of the articles relating to it online. While there’s some interesting points made by those who aren’t happy about some of its elements (a certain death and the Bond feel of their infiltration of a super secret government facility), it’s hard not to like the overall body of work presented by Steve Moffat, Mark Gatiss and the rest of the production team of Sherlock. They continue to show great imagination in their interpretation of Arthur Conan Doyle‘s books, the exceptional writing managing to intrigue and bring us along for an excellent mystery ride. And the acting is top-notch, as always.
I suppose I could have written this is as a series wrap-up. But until there’s official word that there will no longer be future seasons of Sherlock, I’ve decided to just write an entry about the season. There’s one more season in Benedict Cumberbatch’s contract, and by the east wind, I’m going to hold on to hope that season five will come in a couple of years or so.
Happy viewing!!
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