![]() Emilia Ricoletti (Natasha O’Keeffe), a woman who apparently goes insane and shoots at her husband before ending her own life. Watson’s comeback that that is pretty much what she does leads to the requisite pique.Ī case is brought to Holmes by Lestrade (Rupert Graves) who plays a greater dunder-headed version of his twenty-first century self. Hudson (Una Stubbs) takes exception to her portrayal in his writing as she is presented as having nothing to say and simply showing people in and out of their residence. The inside “everyone’s a critic” joke is used gleefully. We learn that he is publishing Holmes’ exploits referencing his latest, “The Blue Carbuncle” which he routinely queries friends, colleagues and staff as to whether or not they liked it. Their interaction and banter are what we have come to expect, though this version of Watson is more the classic variant in that he not terribly quick, but exceedingly loyal and reliable. We open with the now mustachioed Watson (Martin Freeman) returning to 221 B Baker Street with Holmes (Benedict Cumberbatch) after the resolution of a recent case. It is a “one off” alternative episode to hold over rabid fans aching for some new fare since the exceptional ending of Season III’s heralded return of Jim Moriarty (Andrew Scott). The episode is set in 19th century, effortlessly channeling the standard so long wonderfully set by most existing incarnations of Sir Arthur Conan Doyle’s greatest creation. ![]() ![]() Easily the most labyrinthine, involved, occasionally confusing Mark Gatiss, Steven Moffat-helmed affair thus far, “The Abominable Bride” unquestionably challenges the show’s following to think, but is it good? (Yes….yes it is). ![]() Well, this was to put it plainly – trippy as hell. ![]()
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