The Reichenbach Heartbreak - BBC Sherlock's Third Episode

SPOILERS AHEAD.

So yeah.  If you've somehow missed these episodes (I don't know what rock you'd be living under to have accomplished that, but still,) then read with caution.  I spoil the ending, I talk about my theories, and I swear to God, I will put money on this, I'm positive I've found the clue that everyone's missed.  I don't know how it fits in with Sherlock faking his death, but I'm sure I know what the missing clue is.  I'll develop further theories to that aspect once I have the DVD in my hands and can watch it a bazillion times.

I cried.  I freely admit it.  I cried when Sherlock called up John and told him that everyone was right.  That Sherlock was a fraud, and that John should tell Mrs. Hudson, Lestrade, everyone, because the papers were right.

And I cried again when John was at the grave.

I haven't gone into much detail about the performances of the actors in past blogs, but I'd like to now.  I think Martin Freeman's performance throughout this episode was amazing, but his true shining moment was at the grave.  From the start, we see him trying to be tough, cold, not to let his emotions take over.  His speech, therefore, was somewhat stilted, not over-flowing with emotion, like we would normally see of one at a gravesite, who is overcome by what they're in front of.  What the world they're suddenly facing will be like.  Let's face it: John Watson was trying to be like Sherlock always was.  A machine.  Separating himself from caring because he didn't see it as a worthwhile means to an end.

But that facade fades as he speaks.  As he asks Sherlock for one final favor: to not be dead.  I think this was Martin Freeman's crowning achievement so far for this series.  He's been absolutely amazing thus far, but that scene . . .  It was just so powerful, so well done, and so moving.  I wish I could do it justice by description, but I think even if I filled up a novel, writing about those, maybe, two minutes, I still wouldn't be able to.

Benedict Cumberbatch's Sherlock is incredible.  The sheer amount of effort that must go into him so flawlessly executing the deductions, the aloofness, everything, and making it seem effortless is nothing short of remarkably amazing.

I have to say, I think my two favorite parts of this episode with Benedict Cumberbatch were his reactions to Molly's thoughts about him during the "You look sad...when you think he can't see you," bit, and his acting on the rooftop.  Specifically, when he says, "Oh, I may be on the side of the angels, but don't think, for one second, that I am one of them."  And then, of course, when he's on the phone with John.

Honestly, as far as what I think the clue everyone missed is, I'm not going to say right now.  I'm going to wait until I have the second season DVD in my hands and I can watch all six in a row.  Nine hours of Sherlock.  I'll be on British hot guy overload . . .  Totally worth it.

Anyway, as per what I said in my original entry, before I'd actually seen the episode and was going off of thirty second YouTube clips, I still don't think Molly was in on it.  I don't think that's what Sherlock needed her help with.  I have no evidence right now, it's just a gut feeling, but I'm voicing it, because my gut feelings are usually dead on.

I think if anyone knows he faked his death, it's Mycroft, and I think the reasoning for that is that Sherlock went to him at some point and said to him, "You sold me out to Moriarty, someone determined to destroy me.  You. OWE. Me."

I also don't think Moriarty's really dead.  I still support the idea that he planned it, and planned Sherlock knocking his arm.  We never actually see the shot happen, we just see Sherlock's back as it rings out and Moriarty falls.

My worry with that is, if Moriarty turns out not to be dead, where will they go from here?  How much more of a climax can they bring to the table?  I admit, I'm a bit apprehensive that so early in the show's running, it could go down very quickly if not handled properly.  But I'm going to keep faith in Steven Moffat and Mark Gatiss that they know what they're doing and will continue to bring us quality films for a long time.  They've definitely set themselves up with a challenge, however.  Most TV shows run several seasons before giving a climax like a character dying and then coming back from the dead, and the reason for that is it implies they've reached their limit.  They've got nothing left, so they have to go out on a bang, and then they come back for one more season that limps its way along because they can't just do a one-episode season to wrap things up.

For the record, I don't think that Sherlock will come back for the third season and just flop.  The writers are too good for that, and there's too much of an expectation for them to live up to.

Well, I've found out that I should receive the second season tomorrow, so I'll be able to watch the episode again and discuss more in-depth my theories.  Until then, I leave you with something I found, which is semi-Sherlock Holmes related:

This is a line from Hugh Laurie, about the ending of House.  I just found the similarity to how he describes House and some lines from Sherlock eerie.  Of course, House is based on Holmes, but even so, it's odd to hear/read that line about 'on the side of the angels' twice in two days...

“I like him very much,” Mr. Laurie said. “I think he’s lonely. He has a wonderful sense of humor. He’s got a wonderful sense of playfulness about him. He’s just calibrated differently. He’s on the side of the angels, but that doesn’t mean he has to be an angel. He most definitely isn’t. But I think somewhere within him there burns a very fierce and righteous flame.”