| Episode cast overview, first billed only: | |||
| Benedict Cumberbatch | ... | ||
| Martin Freeman | ... | ||
| Una Stubbs | ... | ||
| Rupert Graves | ... |
DI Lestrade
|
|
| Mark Gatiss | ... | ||
| Louise Brealey | ... | ||
| Amanda Abbington | ... | ||
| Toby Jones | ... | ||
| Lindsay Duncan | ... | ||
| Sian Brooke | ... |
Elizabeth
(as Siân Brooke)
|
|
| Georgina Rylance | ... | ||
| Tom Brooke | ... | ||
| Gina Bramhill | ... | ||
|
|
Martin Savage | ... | |
| Katy Wix | ... |
Nurse Cornish
|
|
As Sherlock attempts to comfort John Watson after his wife's death, entrepreneur and apparent philanthropist Culverton Smith tests a new drug on his employees and his daughter Faith to make them forget his confession that he plans to commit murder. Faith retains a partial memory and approaches Sherlock to identify a likely victim but her disappearance, and his descent into drug abuse, lands him in Smith's hospital and at his mercy. Though Sherlock is not as helpless as he appears and has his own way of trapping Smith, the final shock is reserved for Watson as his new therapist springs a terrible surprise on him. Written by don @ minifie-1
Sherlock has become a parody of an action-drama. Almost every shot seems to be either slow-mo or a blurry, disjointed close-up. Drama is replaced by (again) slow-mo with "rousing" operatic vocals and/or more jarring close-ups. Someone should shake the director by the shoulders and shout "NO!". The stories are getting more ludicrous, and there are unforgivable gaps in Sherlock's logic which didn't seem to be there previously. For example, in this episode, the one-word for the victim was immediately understood to be "anyone", which is a huge leap. Why not "you"? Why not "myself"? Blah blah etc. A shockingly bad homage to a once-great institution.