‘I’m Not Running’ review – David Hare’s Labour drama fails to score political points

Siân Brooke (Sherlock) is powerful and emotive as junior doctor Pauline Gibson despite a weak, confusing script from the political playwright – ★★☆☆☆

With politicians like Donald Trump and Boris Johnson gaining increasing popularity in the word of personality politics, one would hope that a play exploring the relationship between the individual and the party – written by someone described as “the premiere political dramatist writing in English” – would be a sharp, critical look at a rising trend.

Siân Brooke (Sherlock) is the doctor faced with a tough decision in David Hare’s I’m Not Running. Photo: Mark Douet.

I’m Not Running, David Hare’s 17th production for the National Theatre, chronicles Pauline Gibson (Brooke) and her journey into Labour party politics after campaigning to save her local hospital. It’s a story which, in the 70th birthday year of the NHS and at the time of Corbynism, has a lot of promise in terms of political commentary. Yet instead, it all feels rather dated. Old jokes about Labour are cracked which we’ve heard in the political arena already, and the disorienting jumps between the past and the present fail to keep things fresh.

As such, what could have been a tense political drama becomes a slow, dragging romance. Ralph Myers’ revolving, domestic set design feels repetitive after several scenes, while the many subplots of the show only really gain impact in the final moments of the second and final act.

Pauline’s relationship with ambitious young campaigner Meredith Ikeji (Amaka Okafor) is raw and emotional, while the main feud between Pauline and her ex-boyfriend Jack (boldly played by Alex Hassell) comes to a head in the last few moments of the show. The tension is entertaining, but long overdue – an underwhelming result of a whole act’s worth of build-up. There’s two contrasting feelings that the production has more to offer, or could have a much shorter running time.

On the topic of running, the play’s title, I’m Not Running, relates to the question of whether Pauline is considering standing for leader of the Labour party – something brilliantly set up in the first scene with her advisor, Sandy (Joshua McGuire) during a refreshing, intelligent take on a typical press conference. As the show edges towards Pauline’s decision, her reasons aren’t quite so clear as a result of the rather confusing, tangled plot. Its closing remarks feel like a rushed attempt at making political comments about issues such as female representation in the Labour party which don’t fit in to the wider plot. Whatever points Hare were trying to make are lost in what is a predictable, disappointing conclusion.

There’s a sense that the playwright wanted the motif of running to relate to Pauline’s character. It could well refer to her shying away from press attention throughout the play – the result of a broken woman with a lot of emotional baggage – but such an idea doesn’t work when the character is passionately played by Siân Brooke. It could never have been a tale of ‘soul searching’ when her character is confident from the start. Unfortunately the same can’t be said for the script.

I’m Not Running is currently playing at the Lyttleton Theatre until 31 January 2019.

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Sherlock: ‘The Final Problem’ review – A sense of closure which is hard to comprehend

Warning: This post contains spoilers for series four, episode three of Sherlock. Please do not read this post until you have watched ‘The Final Problem’.

As mentioned in my review of The Lying Detective, the mid-series episode always tends to kill time with a plot that builds up the excitement for the series finale. The first episode in the trilogy tends to solve the previous cliffhanger before introducing us to a new villain, whilst the finale tends to see Sherlock defeat another criminal. Yet, with The Final Problem, the episode not only continues this arc, but provides a sense of closure and conclusion which could mean that it’s the last series of the quality British drama.

Photo: BBC.
Photo: BBC.

At the heart of tonight’s episode was the emotions the detective had concealed and suppressed whilst he was carrying out his work. Euros was the perfect final villain for Sherlock to confront, because she played with Holmes’ ’emotional context’ – his weakness, as it were.

The case with Culverton Smith showed us that the smugness of a villain can really aggravate the sleuth, to the point where he lashes out.in anger. In this episode, the frustration came with the scene with Molly, as Sherlock destroys the coffin. It’s almost as though feelings are something which he cannot handle, and so, as he is locked in a room with Mycroft and John, he is forced to let emotions get in the way of a case. It’s the one thing he cannot comprehend – take the case with Irene Adler – and as a result, he gets angry at his own confusion.

Yet, there’s a sense that Sherlock has finally come to terms with this in the end. The death of Mary was the wake-up call to him and he is now focussed on relationships and friendships with other characters. John and Sherlock’s companionship is stronger than ever despite the blow in episode one, Holmes finally seems to be getting Greg’s name right and the sub-plot with Molly had a surprising resolution too.

Aside from the development of the show’s protagonist, Mycroft finally had his chance to shine. The mind palace scene describing Euros was sheer cinematic brilliance – delivered with confidence and not cockiness, unlike the first episode. Then, with the dilemma of whether Sherlock would kill his friend or his brother, came the last drop of character progression. Throughout the episode, it was clear that everyone disliked Mycroft (this allowed for some hilarious comedy, by the way) and all this attention on the character made this scene rather poignant. The Walking Dead taught us that when someone’s life was getting a little too cosy, things would go wrong. In the Sherlock universe, the death of Mary told us that this would be the series where normality was no longer a thing, and that the ‘one big happy family’ image which ran throughout the last three series would not be happening. With all this in mind, it did seem, for one second, that it would be the end of Mycroft.

Thankfully, that wasn’t the case, but it was another moment which aimed to give us an insight into Sherlock’s moral compass and compassion (the fact he then turned the gun on himself showed this). Other intense moments included the ‘justice’ scene, where Holmes had to condemn one of the three brothers suspected of a crime, and the scene with the governor. In a way, it did feel a little old – the usual ‘value of a life’ ethical dilemma is something which has been done countless times before. That being said, it was clear what Moffat and Gatiss were hoping to achieve with these scenes, and it was somewhat successful.

Some other things to mention were Mrs Hudson continuing to be rather rebellious in nature (as if her flash car wasn’t enough, hoovering to Iron Maiden took things to another level) and the return of fan favourite, Jim Moriarty – albeit in flashback form.

Now, the main plot point: Euros. Much like how the A.G.R.A plot point from episode one was hard to understand, the backstory surrounding the Holmes sister is another one of those stories which will probably take a second or third viewing to fully comprehend. The mystery surrounding Redbeard was finally solved – a sense of closure which was satisfying to see. Although, aside from that, there’s a sense of confusion which comes from a lengthy backstory being crammed into part of a one hour and a half long episode. Whilst Sian Brooke did an incredible job of playing such an evil character (the point about Euros being able to ‘enslave’ people and how she convinced one man to kill himself and his family was brilliantly dark and sinister), the conclusion that it was just another case of sibling rivalry and another nonsensical metaphor – something about planes, apparently – was a little disappointing, no matter how much closure the character brought to the plot.

It’s this sense of disappointment which continues as the final montage plays. We see Sherlock and John continuing to solve crimes together as Amanda Abbington’s Mary narrates the last bit of her farewell message. It’s not clear whether this feeling of ‘numbness’ was because of the closure the series provided was unexpected, because there was no indication of another series or because it looked as though another great BBC drama had called it a day. Either way, no clear came out on top as the credits rolled.

There has been talk about a series five being plotted and some more episodes in the future. However, with no end-of-series cliffhanger this time round and hints from the show’s writers and Cumberbatch that it may be the final series, it looks likely that this is the last time we’ll see the Baker Street boys in action – and what a goodbye it was.

Sherlock: ‘The Lying Detective’ review – The perfect mid-series episode packed with darkness and intensity

Warning: This post contains spoilers for series four, episode two of Sherlock. Please do not read this post until you have watched ‘The Lying Detective’.

A three-episode series has its advantages and disadvantages for the BBC series, Sherlock. Like the ‘beginning, middle and end’, each time the large, underlying plot is developed until it climaxes in the final episode. Yet, at the same time, it must try hard not to be an episode which is just filling space. Much like a good novel, the beginning must draw us in and the ending must be dramatic, but the plot points in-between have to be intriguing too. The Blind Banker, The Hounds of Baskerville and The Sign of Three either failed at having an interesting case or that sense of progression we needed as we neared the series finale. At last, The Lying Detective has solved that problem.

Photo: BBC.
Photo: BBC.

It started with Culverton Smith, another villain who fits perfectly into Sherlock’s rogue gallery, but in a way which sets him apart from Moriarty and Magnussen. If there are any similarities to be struck between the previous two villains, then Culverton shares Magnusson’s business mindset and the feeling that he is untouchable. This time, however, it comes with a new twist. Unlike Magnusson, who was secretive in both his blackmail and affairs, Smith was in the public eye whilst concealing his murderous background. The blackmailer was elusive, and now the serial killer is too. However, Culverton goes one step further by boasting in the spotlight about how evasive he is from Sherlock Holmes. It’s a smugness that frustrates Sherlock – as explained in the episode. It’s what led to him killing someone at the end of series three and in this episode, him almost stabbing Culverton. Nevertheless, Toby Jones’ portrayal of such a villain was commendable and brilliantly unique.

It was a case which had us all intrigued: how was Sherlock going to wipe that grin off of Smith’s face? The answer lied with John Watson, in a scene that was reminiscent of the doctor saving the day in series one, episode one (where John arrived just in time – conveniently – to shoot the cab driver). Although, this repetition was justified, as the ghost of Mary allowed us to see John’s character develop even more. At first, I was a bit disappointed that yet another character had been revived (either in a spiritual form or in a more literal sense), but Mary’s moral support revealed a part of John Watson we’ve never seen before: the man he wants to become. It was a brilliant sub-plot for character development and coincided with the main plot perfectly.

Speaking of character development, another fan favourite who really came out of her shell was Mrs Hudson, who seemed to have reached breaking point in tonight’s episode as she finally told Mycroft what she thought of him. Well, then there’s the scene with the high-speed chase and the car, which made me respect the landlady even more. The first episode of this series offered a sprinkle of character development for the landlady with the whole ‘Norberry’ codeword, but now Mrs Hudson moved away from being some light comic relief, as she gave John the wake-up call he needed in the episode.

Finally, there was the plot twist at the end which no one was expecting. Granted, the three-year wait since the last series gave the fanbase plenty of time to speculate about the third Holmes sibling (thanks to Mycroft’s comment about ‘the other one’ in series three), but once again, Moffat and Gatiss remind us not to be too set on one particular theory, as it wasn’t a brother, but a sister.

Three years is a long time for the Sherlock fandom, but seven days is enough time for them to debate and discuss the previous episode. In amongst the talks about Mary not being dead (which this episode debunked), people picked up on the poster by the bus stop in the scene with the mysterious ‘E’ and John. Some of us may have predicted that ‘E’ would play an even bigger part near the end of the series, but none of us knew that the ‘E’ stood for Euros, and that she, along with Faith and the therapist were all the same person. Whilst we may know who was behind the ‘miss me’ message, what we’re yet to find out is this: what does all this have to do with ‘Sherringford’?

It’s these questions, mixed in with character development, emotions and twists, which made The Lying Detective the best mid-series episode yet. With another shocking cliffhanger, it builds up to a finale which brings the phenomenal trilogy to a close in the best way possible.

Sherlock: ‘The Six Thatchers’ review – a comic start and a tragic ending

Warning: This post contains spoilers for series four, episode one of Sherlock. Please do not read this post until you have watched ‘The Six Thatchers’.

It’s funny how everything seems to come together once the episode airs. Tonight saw the long-awaited return of Sherlock to our TV screens and for weeks, there were hints that the series was dark, but with comical elements too. Well, the comedy came at the very start and continued with the introduction of baby Rosie (Sherlock’s reaction to the newborn was hilarious), before things became tragic. The ending was somewhat predictable, but tragic nonetheless.

Photo: BBC.
Photo: BBC.

The plot itself started with a very interesting death indeed. Once again, the show continues to have us kicking ourselves whenever the mystery is solved. The case with the man in the car was unique, and the exploding car no doubt hinted at an even bigger budget for this series, and what’s to come (probably more amazing stunts).

As soon as this was solved, the story moved on to another case. It was one which was a clever play on The Six Napoleons – an old Sherlock story referenced by Craig when he was telling Sherlock about the Margaret Thatcher ornaments. What started as a very comical episode revolving around the trio dealing with the birth of Rosie, soon descended into something far more concerning when it was revealed that it all had to do with Mary’s past.

This was hinted to those who read the synopsis for the episode, and so it came as no surprise to them. That being said, the backstory behind Mary Watson (or Mary Morstan, or ‘Rosamund Mary’, whatever) was intriguing, albeit a little bit hard to comprehend. In very basic terms, it could be described as a botched-up operation for A.G.R.A and the British government, caused by someone betraying them. Like many other points in the show, the revelation that ‘ammo’ was in fact ‘amo’ was very good, but it took a while – until the final stand-off – before I finally got a grip on what happened in Tbilisi. Also, we now know that Ajay and ‘Rosamund’ died in the episode, and that Alex was tortured to death, but what about Gabriel? It’s likely that he died, but then again, with this show, we can’t assume anything.

In amongst all of this, though, it was revealed that Watson had been talking to something else. On a bus ride, a lady caught John’s eye and passed him his number. We were all hoping that Watson’s good character would prevent him from entering the number into his phone, but alas, he started texting the lady known only as ‘E’. It was a conversation shown on-screen through clever graphics – something which has clearly upped its game in this series, but felt a little bit too much in tonight’s episode. Nevertheless, John’s decision to talk to someone else suggested that cracks were starting to show in the triangle that is him, Mary and Sherlock. It also became all the more poignant when Mary died later in the episode.

For fans of the original books, this was to be expected as it is cannon. However, brilliant acting, Sherlock’s broken vow and Mary’s final words were enough to bring a tear to every viewer’s eye, regardless of whether they saw her death coming.

Speaking of ‘the last vow’ (which was made in the last series of the show), it was this which truly hinted that this series is going to be much darker. John could just about put up with Sherlock being a pain in the backside, but a broken vow from a friend was enough to do it. In the last series, we feared that Mary’s past would break up the pair, but far more catastrophic is her death.

John no longer wants to see Sherlock and for Mr Holmes, it comes as a wake-up call. Towards the end of the episode, I couldn’t help but see comparisons to Doctor Who. A companion steps into the TARDIS with a bunch of excitement and a lust for adventure, and as much as the Doctor tries to keep them safe, sometimes that isn’t the case. It’s something we now see with Sherlock. His dangerous profession will never provide peace for John and once the consulting detective realised this, it prompted him to hold back on his confidence, because he can never be so sure of something ever again. The codeword he gave to Mrs Hudson to remind him when he is being arrogant was humbling and suggests that Sherlock is becoming a little less formulaic and robotic.

In the next episode, we see the introduction of the next villain in the series: Culverton Smith. Whilst ‘The Six Thatchers’ had some predictable elements, there’s no telling what will happen in the second episode. Yet, what we do know is that Mary’s death has killed the ‘one big happy family’ idea, and things can only get worse from that point on.

Thoughts on Sherlock: ‘The Abominable Bride’ (SPOILERS)

In the first three series of BBC’s Sherlock, it was the modern take on the classic Victorian detective, Sherlock Holmes, which attracted viewers worldwide. The adaptation was a success. But, with the special episode The Abominable Bride taking viewers back to the 1800s, was this adaptation just as successful and popular?

Photo: BBC.

To start off with, the episode very much repeats the plot of A Study in Pink from the first series, except with a few minor changes. We see a noticeably larger Mycroft, a Molly in disguise as a man, and the same encounter which unites Sherlock and Watson is reimagined in a more old-fashioned manner. Admittedly, I was concerned that it would be a simple repeat of A Study in Pink, but the plot certainly made the episode unique.

When the plot was explained by Detective Lestrade, I was thrilled by the touch of the supernatural involved. For those who don’t know, Sherlock Holmes’ creator, Sir Arthur Conan Doyle, did believe in ghosts and fairies and so forth. But, the detective himself, however, did not. It’s why I found Sherlock’s angered shouts to Watson after he saw the ‘ghost’ so hilarious.

Then, when the case was finally solved, I was overjoyed by the explanation (unlike the one by Sherlock as to how he survived the fall – I’m still clueless). The fact that it was a secret conspiracy run by feminists was sheer brilliance, as it was relevant to the time. I thought that it was all clear to understand – until Moriarty came along.

Although, we were all expecting Andrew Scott’s brilliant portrayal of the professor to appear in the episode at some point. It was brilliant that Moriarty’s psychopathic nature remained – it is, after all, what makes Scott’s version of the character so different to others. However, it was annoying that Moffat explained the Victorian special using a rather sneaky adaptation of ‘it was all just a dream’.

OK, let’s replace ‘dream’ with ‘mind palace’. I was aware that the special episode would offer us a slight explanation for the series three finale. Nevertheless, I couldn’t help but find the jumps between the two worlds difficult to keep up with. It was almost as hard to follow as Inception.

Despite that, there were moments where I was screaming with joy. As a deaf person, I was in hysterics when Sherlock and Watson were communicating in the Diogenes’ Club using sign language (except Watson failed miserably). But, what I really had to applaud was Moffat and Gatiss’ nods to the original works. In particular, the Reichenbach Fall.

Thankfully, the whole mind palace business stopped me from complaining about Moriarty surviving the fall (he doesn’t in the original novel), but it was fantastic to see Cumberbatch and Scott battle it out at the falls just like it was in the novels. It was also great to see a change in relationships between Hooper (Molly, that is) and Sherlock, as well as the relationship between Watson and Holmes becoming fragile at times when the modern versions are perhaps a bit more collaborative. The only thing which bugged me a little was the “elementary my dear Watson” line, which he never actually says in the books – but at the same time, he doesn’t wear a deerstalker, either. It’s just Moffat and Gatiss’ interpretations.

On the whole, the show sees the modern and historic worlds combine in a way which not just breaks the fourth wall, but shatters it to pieces. We may have had a glimpse as to how Moriarty survived – supposedly – but we’ve also been left confused as to what the bloody hell just happened. It’s confusing, but heck, that’s the main thing I love about Sherlock.

What did you think about the episode? Comment below with your thoughts!

Liam

Observation and Investigation: What Sherlock Holmes and Journalists have in common

For those who don’t know, I’m currently studying Journalism at the University of Lincoln. I’ve been here for just over a month now and I’m enjoying every minute of it.

One of the many things I love about the course is seeing the nuts and bolts of journalism and how it works. It was from the first few lectures and seminars that I learnt about two key skills journalists should have: observation and investigation.

Now – being a huge fan of Sherlock Holmes – I was quick to see the link. After all, journalists are required to ask the right questions and go beyond what may be presented at face value. As Sherlock says to Watson in A Scandal in Bohemia: “You see, but you do not observe.” It is this quote which describes the difference between a good and bad journalist. It also ties in very well with a key characteristic of any reporter, which is to be constantly curious.

Also, journalists have – in a sense – be a detective when it comes to gathering evidence. Whilst detectives need evidence for a criminal case, journalists require evidence in the form of quotes.

In fact, the structure of news stories implies a sense of investigation. The first paragraph basically describes what happens and then the story develops before quotes are added. These quotes, for journalists, are their evidence. With trust in the media dwindling over the last few years, obtaining thoughts from those involved in a story shows proof that the journalist’s investigation has taken place and what they are saying is true.

Essentially, this comparison between Sherlock Holmes and today’s journalism can show the common characteristics required of journalists (being curious, asking questions and so forth), but it’s the idea of exploring and investigating which makes this comparison an interesting one.

Liam

Weekly Update: Thoughts on Sherlocked

I heard the news earlier this year, and with a worldwide fanbase, it was to be expected. There is going to be a Sherlock convention.


I have never been to a convention before, but I’ve always been a fan of Sherlock, so I knew it would be a good experience. So I got tickets to attend the convention yesterday, at the ExCel Convention Centre in London.

First off, we had to go on numerous tube lines to get to the venue. This included my first ever visit on the DLR, which was interesting. After a large amount of travelling, we finally arrived at the ExCel to begin our day.

On the inside were lines of restaurants and takeaways, before signs pointed us in the direction of “S5”, the area of the ExCel was to be for the whole weekend (Friday, Saturday and Sunday). As soon as I entered the ‘arena’, I noticed the room was filled with fellow fans (some in impressive cosplay), as well as a large amount of merchandise and elements from the show. We arrived in plenty of time (since the first item on our agenda was to see the Visual Effects Show with Danny Hargreaves), so we went straight to the queue for the autographs to get our free ‘virtual tickets’ for Sue Vertue (Producer) and Steven Moffatt (Co-Writer) autographs.

Although the idea of the ‘virtual ticket’ sounded a bit confusing at the time to a novice convention attendee, it was soon made clear that we can go and do other things with our time and check back regularly for our number to be called. Thankfully, our number for Sue Vertue was in the 30s, so it wasn’t long before we could get her autograph. As for Steven Moffat, we had tickets in the 300s, so that gave us a bit more time to explore.

After looking at other tweets from attendees, a select few did have a few negative things to say – mostly the organisation and price. Personally, I found that there was enough to do in one day (I was not too sure about whether an attendee could be completely entertained for the whole three days), and there were memorable things to do for free (such as see props and get a few autographs). That being said, the rather hefty prices for some autographs, photoshoots and ticket packets were a tad extortionate. Also, I will admit that the organisation wasn’t so good either, as we found with our first talk for the day…

The procedure to get into the main talk stage area, was to go out of S5, and queue inside the large ‘hangar’ of S7. This would then feed out of S7 all the way down to S6, where we can enter. But, when the talk comes to an end, and you have another talk after that, you have to exit through the door on the opposite side and quickly queue up again. It was a bit tiresome.

Anyway, we were fortunate enough to get tickets to talks by both Benedict Cumberbatch and Andrew Scott. But before that, we decided to go to the free visual effects show with Danny Hargreaves (a special effects designer who has worked on the likes of Doctor WhoCoronation Street and of course Sherlock). In this very interesting and entertaining talk, we were given demonstrations on how effective gunshot wounds are created in the show, as well as explosions. In particular, *SERIES THREE SPOILER ALERT* there is a scene in His Last Vow where after Sherlock is shot, he falls down and the camera tilts. In an exciting demonstration, we found out that it was actually a rig that Benedict sat on which lowered him to the floor as the camera tilted – fascinating!


It was great as well as Danny himself went back to his stall to demonstrate props to visitors. Later on in the day, I was able to ask him a couple of questions. These included what his most expensive stunt was (to which he said he couldn’t say since it will be coming up soon), what happens if an actor messes up the stunt (they get a strict telling-off!), and how the infamous fire scene from The Empty Hearse was done without harming Martin Freeman (short answer – controlling the fire with coolants and other cool stuff!). Danny was a really nice guy and it was great to find out more about the effects!

Benedict’s talk. Excuse the poor quality photos – the only way I could take photos was by taking a picture of the large screen, which doesn’t work well with iPhones!
Then came the talks. Understandably, Benedict’s was packed. At the start, there was a light show of eager fans wanting to take a photo of Sherlock himself. But then, the host began to ask questions about Benedict’s portrayal of the sleuth before turning the questions to the ecstatic audience. Overall, the talk was entertaining, with a Chewbacca and Smaug impression along the way.


After leaving to queue up again, we were let into Andrew Scott’s talk. Unfortunately, due to the audio set-up, I was unable to hear much of the talk apart from a few sections. In particular, I question I wanted to ask (which another fan managed to ask for me) was how Andrew would differ his performance of Moriarty to his performance of the next Bond villain. There was silence before he said his answer, but I was unable to hear what he said (thanks to the bad audio).


With the main talks done, we had some time to explore the props. There were opportunities to queue up and take a photo of yourself outside the 221B door, which we did and was great fun. As well as that, there were props such as The Lost Vermeer Painting, and the taxi from the first episode, A Study in Pink. You could also see the sets for Mycroft’s Office as well as the actual 221B set. There was even more props in a special Props Museum, which I will talk about later on in this post…


Another exclusive of the event was a special display called John Watson: History of a Hero. This detailed the life of John before his meeting with Sherlock. We find out about his childhood, as well as what caused the shooting in Afghanistan.


Then we had lunch before having another look at merchandise. At the end of the day, I bought the official programme, a pen (of course) and a printed picture which I could use for my autographs. There was also a BBC Shop on site that sold even more goodies, but the book I wanted to buy, The Sherlock Chronicles, was sadly sold out when I arrived.


So we decided to go to the Props Museum. Inside, were numerous props from the series. These ranged from costumes, to newspaper articles, to some of the most famous props from the show. Set in the form of a walk around museum, it was great to see the items up-close.


It wasn’t long before the day was starting to draw to a close, and we had seen it all – apart from the autographs. We went back and quickly joined the queue for Sue Vertue, who was really friendly asking how my day went. Then later on we met Steven Moffat, who gave me some interesting writing advice.

It was also exciting as whilst we were in the queue for Steven, we noticed that his son, Louis Moffatt, was also doing free signings. For those who don’t know, Louis is the actor that played Young Sherlock in Series Three. It was great to meet them, get their autographs for free and add it to my collection.


Overall, I had a great day. It was so great to see actors and props in real-life and feel involved and part of a fandom (as weird as that sounds). Sherlock has always been a favourite show of mine and so it was great to see how it comes together. I’m curious to see if the convention will happen again next year…

Did you go to the Sherlocked Convention? If not, who out of the cast would you most like to meet? Comment below!

Liam