{"id":29825,"date":"2016-01-02T10:36:52","date_gmt":"2016-01-02T15:36:52","guid":{"rendered":"http:\/\/www.allyngibson.com\/?p=29825"},"modified":"2016-01-04T21:34:09","modified_gmt":"2016-01-05T02:34:09","slug":"moriartys-identity-and-the-sherlock-christmas-special","status":"publish","type":"post","link":"http:\/\/www.allyngibson.com\/?p=29825","title":{"rendered":"Moriarty’s Identity and the Sherlock Christmas Special"},"content":{"rendered":"

Last night, PBS’s Masterpiece Theater<\/i> aired the Sherlock<\/i> Christmas special, “The Abominable Bride.”<\/p>\n

That was well-made nonsense.<\/p>\n

\"sherlock-xmas2\"If you ever thought the biggest problem with the Canon was that it wasn’t phildickian enough, Moffat and Gatiss wanted to reassure you that, yes, Sherlock Holmes can indeed mess with your mind.<\/p>\n

“The Abominable Bride” wasn’t what I was expecting. I thought the episode would be like the Robert Downey, Jr. Sherlock Holmes<\/i> films, albeit on a BBC budget. What made “The Abominable Bride” different from the previous three series of the series was that this episode was set in Victorian, rather than modern times. Benedict Cumberbatch and Martin Freeman would be wearing Victorian garb, riding in Hansom cabs, walking the cobbled streets, and all of that.<\/p>\n

It was, instead, something else entirely.<\/p>\n

\n

I was hoping for something more Canonical #Sherlock<\/a><\/p>\n

— Allyn Gibson (@allyngibson) January 2, 2016<\/a><\/p><\/blockquote>\n

It was, essentially, an extended dream sequence. Following the reveal that Moriarty was back at the end of Series 3 — and after Sherlock was exiled from Britain for straight-up murdering a blackmailer by shooting him in the face — Sherlock entered his “mind palace” to solve an 1895 murder and, by doing so, solve the mystery of how Moriarty was still alive.<\/p>\n

\n

What is this? An Inception-like phildickian mindfuck? #Sherlock<\/a><\/p>\n

— Allyn Gibson (@allyngibson) January 2, 2016<\/a><\/p><\/blockquote>\n