Sherlock Season 4 Review

Season 4 of Holmes has passed — which is easy, considering the season’s three episodes — but it ends with an oddly final note. Cast and crew may insist that this is not the end but Steven Moffatt & Mark Gatiss close their thirteenth episode on an emotional note, reflecting on the legend of Sherlock and Watson.

It was a shame that the rest of the episode was so messed up.

Mycroft, don’t look now

Gatiss’s opening episode is pure Gatiss. In what appears to be a dream sequence, Mycroft is haunted and haunted by the voice of his sister (represented by what we assume is an infant girl but a small man wearing a wig), clowns, and portraits that shed blood. Sherlock and John are trying to scare Mycroft into telling the truth about Euros in the Hammer horror-infused nightmare. Although it’s quite creepy, John and Sherlock are presumably trying to scare John into telling the truth about Euros.

Deja Vu

After many seasons of fake deaths and disguises, Euros Holmes has finally revealed the truth –

This isn’t “Pretty Little Liars”. It’s easy to wonder if you switched channels wrongly. The Greatest Detective is taking a few pages from the ABC Family/Freeform Renewed TV Series. The show was much like Sherlock. It revealed that the psychopath behind several seasons of torture and mind games was a sister who was obsessed with her younger brother. She was also locked up for being a psychopath, but she wants to be loved.

The Female of the Species is Deadlier than the Male

Or, at the very least, smarter than him. Mycroft is smarter than Sherlock, a joke that has been going around for years. But what about Euros? But, what about Euros? In a recording of a psychological evaluation, she states that she was institutionalized for being “too clever”.

This review doesn’t endorse murder, mental manipulation, arson, or other horrible things the youngest Holmes does. If I were written in such a way, I would also want to burn down the ancestral pile.

The actress playing her is not to blame. Sian Brookes’ acting is so brilliant that I still have doubts that she was the little girl on board. She’s not Sherlock, even though I am 100 percent certain.

However, her hate-love relationship with her sibling is completely absurd. As a child, she draws pictures of his gravestone and wants to play with it. As an adult, she must physically restrain herself from killing him. Later on, she can be soothed with a hug. She is a little girl with a broken heart who just needs to be loved despite her emotionless exterior. This is a far cry from her chilling introduction last week, where she was all grey hair, dowdy clothes, and dead eyes.

Brooke’s story is heartbreaking, as her two personalities collide — the icy manipulator side and the scared child who can’t connect to anyone — but it’s not the Machiavelli we expected. While Euros in villain mode can make things truly awful, she still had power. She had agency, at least. Mary, Irene Adler, and Molly Hooper all had agency once. Every woman on the show was systematically defamed and Mrs. Hudson driving a sports car can’t erase that.

It is misogyny, but it’s not only that. Moffatt or Gatiss don’t seem to care about the inner lives of characters other than Sherlock or John, who have not developed as much as they would like.

Mycroft v. John

Since Euros can’t choose which side it would prefer, it’s not surprising that Sherlock is forced to choose between his brother or his best friend. Mark Gatiss does a great job in infusing Mycroft’s scripts with all the nuance and nobility that they lack. It’s easy to forget that he wrote them. Martin Freeman’s John Watson is a little too nimble, especially in Mycroft.

Sherlock may have legitimate problems to overcome, but John’s hatred of Mycroft is just plain to mean. Despite Mycroft’s multiple rescues of Sherlock and John, and the only reason the traumatized drug addict Sherlock survives long enough for John to see him, Sherlock can only taunt and bully Mycroft.

We are supposed to be John’s side. But John doesn’t make things easy for us. John, for one, doesn’t talk to his troubled sister. Mycroft, however, built an entire island facility just for him. He talks a lot about Sherrinford being Britain’s Arkham Asylum. But we never see any other prisoners. Mycroft cannot kill anyone — he is physically repulsed by the thought — while John did it in the first episode without thinking.

John Watson is not noble. He’s a narcissist. Because Sherlock Holmes is close to him, Watson hangs out with him because he has empathy. Is Sherlock a slave to Sherlock Holmes because he doesn’t know better? Or has he found another possessive friend to replace Euros?

Redbeard’s Mysterious Secret

We know that Sherlock suffered the most severe childhood trauma from losing his beloved dog Redbeard, since Season 3. It turned out that Redbeard was Sherlock’s pirate alter ego, Victor Trevor. Euros didn’t kill a dog, which is the good news. Unfortunately, she drowned a child then tied John Watson up in the well.

I Blame the Parents

Mummy and Daddy Holmes return, furious at Mycroft’s attempt to fake his sister’s death to keep them safe. They all end up going on a fun family trip to see Euros. There, Sherlock and Sherlock play the violin together. It’s all very nice except for the fact that she is still a murderer and she’s locked up in Fort Knox’s mental health equivalent. Their shockingly poor parenting skills may have contributed to her being there. They might have been able to intervene if Euros’ problems were, as we are led to believe by her being kept out of Victor and Sherlock’s reindeer games. Perhaps being complicit in Sherlock erasing all memories of his sister and deceased friend was not the best decision. It’s no wonder that he became an addict. Do they know Sherlock has a drug addiction? Or is Mycroft protecting them from something else?

They turn to Sherlock in a cruel moment for help. Sherlock claims that he was always the grown-up and had forgotten about his sister until 24 hours before.

Sherlock is not a grown-up. He is an emotionally inept man-child, and the fact that he is learning to behave like an adult does not make him qualified for making decisions about his sibling’s mental health. The question at this point is not “Why did Euros set the fire to the family house?” but “Why didn’t Mycroft join her?”

Mycroft has the burden of the entire world.

The finale’s alleged game-changing qualities are not apparent. However, the credits have been restored. The final problem with “Sherlock” is its inability to stand firm in its convictions. Although it flirts with departing from the original books, it never actually commits. The show is worse because it pulls all the punches.

Either letting Euros become a complete villain or admitting Sherlock and Mycroft’s guilt in her actions would be a brave decision. It would be brave to have Sherlock, and not Euros, fall apart and need to be led home. Molly could say sorry but she’s not in love with Sherlock anymore. Love can’t survive without a vacuum, and that’s all he has to offer. Sherlock and John would be brave to admit their love for one another, with or without Mary’s help. The brave decision would have been to leave her alive and explore good old-fashioned polyamory.

We get instead cliches and queerbaiting, as well as a modern adaptation of the story that feels more stoic than the original.