![]() So Sherlock and Mycroft have a sister, Eurus, a name that explicitly references the fatal “east wind” everyone keeps going on about. The fourth season finale, “The Final Problem,” is trying to accomplish the both-sides bit, building a glass wall only to walk through it while swearing it was never there in the first place. They entered too many emotional inputs into the equation, weighing us down with death and guilt and consequence, before pulling back for yet another big curtain reveal just as we’re trying to figure out if we’re still in the mood for this game. Where Steven Moffat and Mark Gatiss have erred this season is in their approach to that central problem. Its formula depends on a story that’s light, energetic, and fundamentally harmless - even as it invites us to plumb some truly horrifying psychology. But what we’re willing to accept from Sherlock is a direct function of how the show presents itself to us. ![]() A defining childhood memory turns out to be false, a dead character magically returns in the flesh, chillingly realistic scenarios are revealed to have been staged: On any other TV show, even another mystery program, such a ludicrous sequence of events would quickly fall apart. Sherlock is the rare show that knows how to goose its audience. Photo: Robert Viglasky/Hartswood Films/Masterpiece
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