Hudson going on a silence strike, an angry Mary Watson taking employment without her husband’s knowledge, and a particularly outspoken maid. At the same time as the case progresses, however, there’s an intrusive subplot that keeps weaving its way through-the female voice in the Victorian Era, with a frustrated Mrs.
Two reveals were particularly enjoyable-Mark Gatiss’s Mycroft, bearing the girth and sloth of Doyle’s version, and morgue director Molly in male disguise.
REVIEW SHERLOCK HOLMES BRIDE SERIES
What follows is a fairly straightforward investigation that echoes both the style the BBC Series has established and Doylean canon tropes. The case is brought by a mutton-chop-sporting Lestrade, who introduces Holmes and Watson to the Abominable Bride herself (played by the phenomenal Natasha O’Keeffe), a wedding anniversary murderess-suicide who somehow appears to have risen from the dead to kill her husband-and happens to have killed herself in the exact same way we saw Moriarty kill himself earlier in the series. Immediately after, however, we were thrown into an immersive Victorian world, complete with a Doyle-heavy origin story and new-old versions of our favorite characters (with the exception of Vinette Robinson’s Sally, whom I was sad to miss). The episode began with a confirmation of this in the form of a montage showing the viewer a quick timeline of everything that has happened in the series so far, surely a strange choice if the episode wasn’t going to connect to it.
In recent days, a low-key change occurred, in which cast and showrunners began teasing a series connection after all. In the early days of publicity, we were told that the story would be a complete one-off, fully Victorian and unrelated to the series arc as a whole. Mycroft Holmes once asked, long ago, in A Scandal in Belgravia, “What might we deduce about his heart?” This episode answers that question. Instead, it’s about the things the heart believes are true, specifically the heart of Sherlock Holmes.
The Abominable Bride is not really an episode about plot, though it has a good one, and it’s not about advancing the overall arc of the series very much. The poem 221B by Vincent Starrett is treasured among Sherlockians for its final line, which reminds young and old that “it is always 1895,” but Sherlock’s first holiday special turns my mind to the lines above even more. Only those things the heart believes are true. England is England yet, for all our fears–
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