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This reminded me vaguely of Hound of the Baskervilles.
Illegitimate children? Check. Large inheritance? Check. Deaths with no apparent reason? Check.
Obviously without the haunting/supernatural aspect, of course.
I thought it was cool that the sisters were fraternal, not identical, that the comatose sister was the baddie and the sister who was originally pegged as the murderer was the one who wanted to share the fortune - and, rather poignantly, ended up with the whole lot.
The one point that bothered me in the case was that they never really explained the degree of the doctor's complicity in the thing. He was an accessory to murder and knew it. Purely for love of the comatose twin? Really?
(Disclaimer: I may have been madly in love once, possibly when I was 19. They say love makes you do crazy things. Then again, I've written several million words about fictional characters, so really, who am I to judge?)
Oh, and does muscle atrophy that fast? A couple of weeks in an induced coma and she's so weak she needs to sit down?
On the Holmes/Watson relationship, I very much enjoyed the way she keeps pulling him up, challenging him in his interactions with the world. The bit about sticking the pin in his thigh, echoing his words in the hospital about the comatose sister? WONDERFUL.
I admit, it's such a pleasure to see a Watson who's more critical of Holmes' interactions with the world. Doyle's original Watson was very admiring of Holmes, and Sherlock's Watson feels similarly awed. I can't remember Jude Law's Watson in the movies, but Robert Downey Jr. does tend to overpower somewhat. (Which makes the character balance achieved in the Avengers movie rather impressive, if you think about it.) By contrast Joan Watson feels a lot more active in her criticism - which, granted, is assisted by their additional roles of Holmes as recovering addict and Watson as recovery helper.
Although Joan does let a few things slide - the illustration with the waterglass and the couple at the cafe. I imagine that, IRL, the diners would have made considerably more outcry when Holmes appropriated their water and salad oil than they did!
The violin was also an excellent touch. This is the internet, so I know that someone knows/has looked up the piece Holmes was playing - what was it?
The character interactions didn't hit me as hard in this episode as they did in the first, but it's the subtle little touches that make it good.
Illegitimate children? Check. Large inheritance? Check. Deaths with no apparent reason? Check.
Obviously without the haunting/supernatural aspect, of course.
I thought it was cool that the sisters were fraternal, not identical, that the comatose sister was the baddie and the sister who was originally pegged as the murderer was the one who wanted to share the fortune - and, rather poignantly, ended up with the whole lot.
The one point that bothered me in the case was that they never really explained the degree of the doctor's complicity in the thing. He was an accessory to murder and knew it. Purely for love of the comatose twin? Really?
(Disclaimer: I may have been madly in love once, possibly when I was 19. They say love makes you do crazy things. Then again, I've written several million words about fictional characters, so really, who am I to judge?)
Oh, and does muscle atrophy that fast? A couple of weeks in an induced coma and she's so weak she needs to sit down?
On the Holmes/Watson relationship, I very much enjoyed the way she keeps pulling him up, challenging him in his interactions with the world. The bit about sticking the pin in his thigh, echoing his words in the hospital about the comatose sister? WONDERFUL.
I admit, it's such a pleasure to see a Watson who's more critical of Holmes' interactions with the world. Doyle's original Watson was very admiring of Holmes, and Sherlock's Watson feels similarly awed. I can't remember Jude Law's Watson in the movies, but Robert Downey Jr. does tend to overpower somewhat. (Which makes the character balance achieved in the Avengers movie rather impressive, if you think about it.) By contrast Joan Watson feels a lot more active in her criticism - which, granted, is assisted by their additional roles of Holmes as recovering addict and Watson as recovery helper.
Although Joan does let a few things slide - the illustration with the waterglass and the couple at the cafe. I imagine that, IRL, the diners would have made considerably more outcry when Holmes appropriated their water and salad oil than they did!
The violin was also an excellent touch. This is the internet, so I know that someone knows/has looked up the piece Holmes was playing - what was it?
The character interactions didn't hit me as hard in this episode as they did in the first, but it's the subtle little touches that make it good.
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