Like past series, the fourth is composed of three 90-minute episodes. The finale, “The Final Problem,” aired on Jan. 15.
This series shifts its focus from the dastardly villain Moriarty to Holmes’s chaotic upbringing and family secrets and the familial issues of sidekick John Watson (Martin Freeman). The show takes the Holmes-Watson duo away from the familiar Baker Street, where it has cataloged many successful mysteries, to Morocco and even Sherrinford, a fictitious, high-security island. Unfortunately, these geographic expansions feel like aimless journeys, reflecting the ridiculous extension of the mysteries out of the intricacy displayed in earlier series and into the impossible.
For one, the introduction of a new, mind-controlling villain with roots in Sherlock’s past comes shakily, befuddled by the explanation that Sherlock suppressed his own memories. Accepting that this suppression left a gaping hole in Sherlock’s childhood memories seems a sloppy justification for a dissatisfying character. This new antagonist wrecks havoc upon Holmes’s life, and distracts from the magic of Sherlock’s incredible intuition, replacing his key characteristic as an intellectual detective with superfluous fist-fighting and other such violence.
Fortunately, some of the absurdity is quelled by a stoic performance by Cumberbatch . With incredible wit and a peculiar demeanor, Cumberbatch’s Holmes certainly encompasses the modern equivalent of the classic sleuth, with a compassionate twist. This component, though excellent, is no change from the successful past series.
Through the series’s exploration of the dangers posed by Watson’s wife and Sherlock’s new threat, the relationship between the classic duo deepens and adds a new shade to the detective’s motivations and overall complexity, as well as an element of witty humor that provides a nice break from the show’s intensity.
The growing bromance is a charming addition to this modern telling, and plays a larger part than it in past series. Yet, in relation to the plot, it has some issues. Namely, at the plea of Watson’s wife, Holmes purposefully endangers himself in an extreme scheme to distract Watson from his own depression. Though a touching idea, the execution of this sacrifice feels over-exaggerated and unnecessary.
The series’s greatest success in regards to its storyline comes from the second episode, which distances itself from the Holmes backstory in order to focus on a London-based villain. The return to the show’s original formula is masterfully executed, as it is in the previous three series, laying out small clues that come together at the end to reveal the villain, motive, and scheme. Though potentially repetitive, it is this formula, in concert with engaging acting, that has brought so much critical acclaim, including 24 awards and 42 award nominations, to “Sherlock” in the past.
Plot aside, it would be remiss to ignore the masterful display of special effects and atmospheric elements that successfully convey the dramatic tone surrounding the two protagonists.The middle portion of the series takes Holmes through an uncontrolled drug addiction, more extreme than in any previous series, that is matched perfectly by shaky, blurred camera work that reflects the instability of the lead sleuth. Dark sets and quickly shifting camera frames keep the viewers on their toes and create an ominous atmosphere more intense than that of the first three series.
In consideration of both the positive execution of the actors and effects as well as the negative aspects of the plot of the fourth series, “Sherlock” has a lot to offer to fans of the series. While the plot could have been executed with a more reasonable narrative, the acting and production of the show still have the excellence that made the show popular.
