![]() From Mrs Hudson (Una Stubbs) being cross at merely being depicted in Doctor Watson’s tales in The Strand Magazine as letting people in and making tea – “I’m a housekeeper, not a plot device” – to the Victorian Sherlock mind-juggling newspaper clippings instead of on-screen text messages, there is plenty to keep the avid fan of the show engaged. This feature-length episode takes the viewer with it as an accomplice as it very knowingly – and very amusingly – references itself. Of course, as you know, once you’re dead, you generally stay that way, and so how can Mrs Rosetti have very publicly blown her own head off and then gone after her husband in an act of vengeance? This is the mystery that Sherlock must solve in order to resolve his own, very real dilemma in the present day: how can Jim Moriarty be back when Sherlock saw him blow his own head off? Picking up where the series three finale left off, with Sherlock on a plane in the present day having learned that Moriarty is apparently back from the dead (spot a theme here?), we’re plunged into an alternate reality in 1895 where Sherlock must unravel the mystery of Emilia Rosetti, our deadly rampaging ghost bride. Sherlock The Bride (NATASHA O’KEEFFE) – (C) Hartswood Films – Photographer: Robert Viglasky The Abominable Bride has the lot – smoggy Victorian London, a murderous, ghostly bride apparently back from the dead, and Sherlock Holmes (Benedict Cumberbatch) on the case with John Watson (Martin Freeman), the Best Friend A Man Ever Had, at his side. While it’s entirely unlikely that this ever actually happened, what we do know is that Moffat and Gatiss have delivered when it comes to all of the above. “Let’s give them drama! Mystery! Gothic horror! Twists!” they exclaim. In my own little Mind Palace, I envision a scene featuring the high-fiving, back-slapping glee of Steven Moffat and Mark Gatiss as they plotted the storyline for The Abominable Bride.
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