The other, Fort Boyard stuff, gets going when a “patience grenade” arrives via drone inside Baker Street. Photograph: Todd Antony/BBC/Hartswood Films Serious injury, if not death, seems inevitable, yet nothing is made of it. Sherlock and Watson decide to hurl themselves out the windows to get away from the grenade inside Baker Street. “Heaven may be a fantasy for the credulous and the afraid, but I can give you a map reference for hell.” There was a lot in this episode I didn’t buy, but I really bought this. It also explains Sherlock’s own lack of emotions: his only friend died, he couldn’t help his sister, he cut himself off. It is a brilliant way to humanise a monster, and it’s deftly written, left to the viewer to join up the dots, to realise that all Eurus wanted as a child was for Sherlock to come to her bedroom. She is still looking for someone to play with, a friend who can understand her, because she is too clever, too emotionless to have mates. The lyrics don’t lead him to John though, they lead to Eurus’s bedroom, where she is cowering and crying, managing to be both the girl on the plane and the evil genius. This time round, John ends up in the well, but Sherlock, now a grown detective, is able to solve Eurus’s rhyme. She wanted Sherlock to work it out, but he wasn’t clever enough and so Victor drowned. She gave Sherlock the clues to find him so she could be involved. When she hid Victor in the well, she says it was out of jealousy – that she wanted to “play too”. Here too, he recognises that he should look after the girl, despite the fact that her story not quite makes sense.Įurus isn’t your average psychopath. When Eurus came to his flat, undercover, he had a fraternal instinct, taking her out for chips despite having not left his flat for weeks. Surely he’d be able to deduce that she wasn’t really on a plane, yet he never appears to doubt the veracity of her call, perhaps realising that he has to go along with it, to make her feel safe anyway. Yet it must be clear to him that something doesn’t add up – she doesn’t know where she’s coming from or going, she seems relatively relaxed about the huge passages of time passing between their conversations. Later he realises Redbeard wasn’t a dog, but a boy – his best friend Victor Trevor.Īs the episode progresses Sherlock starts to get phone calls from the little girl in the plane. He recalls that she hid his dog, the much-touted Redbeard, and said that to find him he had to listen to the lyrics of a song she sang, a song he could never decode. Photograph: Laurence Cendrowicz/BBC/Hartswood Filmsīut Sherlock starts to have childhood memories of his sister. Sherlock plays on his brother’s fear of clowns to extract some information about his long-forgotten sister Eurus. According to Mycroft, she is “an era-defining genius beyond Newton” yet he is terrified of her, and uses trigger words – “the east wind is coming” – to make sure Sherlock can’t remember who she is, “ a kindness” as he would have it. He finds out that she is institutionalised in Sherrinford, a secure facility for the most dangerous prisoners in the world. Why is this girl fine when everyone else is out cold, how can someone’s phone be ringing in the sky, and why is Moriarty, who we know to be dead, on the other end of the line?īack in London, Sherlock, playing on his brother’s fear of clowns, has extracted some information about his long-forgotten sister Eurus from Mycroft. Yet even at the beginning, something felt unnatural about this situation. The episode starts with what appeared to be a girl, alone on a passenger plane, where everyone is unconscious apart from her. “Help me please, I’m on a plane and everyone’s asleep.” The other was a fun if unfulfilling gameshow of wild hypotheticals, where everything was at stake yet it often felt as though very little was. One was a subtle, beautifully crafted backstory about Sherlock’s childhood. To my mind, there were two things going on in this episode.
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