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Ominous anecdotal evidence leads into a real confrontation, where all our former certainties are put to the test. I remain hopeful for another, but itвЂ™s pleasing to see some of the familiar trappings at play here in the meantime. Co-writer (with Steven Moffat) of this episode Mark Gatiss is a well-known fan, having directed his own addition to the strand, JamesвЂ™ The Tractate Middoth, in 2013. James, whose short stories formed the backbone of the BBCвЂ™s 1970s A Ghost Story for Christmas strand. Victorian reason versus the supernatural at this time of year, however, calls to mind another author altogether, namely M.R. The toying with format on show gives us a resolution with greater ambiguity, but the rational must ultimately triumph all the same (complete with a sinister cult of women and a clumsily delivered, but undeniably well-intentioned, feminist moral to boot).

ItвЂ™s a traditional struggle that feels especially at home in the Victorian age, perhaps. Sensibilities integral to Conan DoyleвЂ™s stories are made central here too, with the theme of the rational against the supernatural harking back most clearly to The Hound of the Baskervilles. Five years in, SherlockвЂ™s arch self-awareness shows no sign of tiring, now acknowledging even its own esteemed place in the Holmes mythos.

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The Basil Rathbone films get a look-in (вЂњElementary, my dear WatsonвЂќ), and a direct quotation of The Adventure of the Creeping Man (вЂњCome at once if convenient вЂ“ if inconvenient, come all the sameвЂќ) is simultaneously a humorous back-reference to its contemporary paraphrasing in A Study in Pink (2010), the first episode of this TV incarnation. There are not simply knowing winks to Conan DoyleвЂ™s storiesВ ( The Five Orange Pips, for instance) and The Strand Magazine, but reverent looks to the wider worlds of the character in other forms. Similarly frequent throughout are the references to the Holmes вЂcanonвЂ™, in the broadest sense of the word. Bold stylistic touches like this are pushed, especially early on, to make clear this is the same programme we know and love, its grandiose sense of camp firmly intact. Introduced with a tongue-in-cheek вЂpreviouslyвЂ™ flashback, the 19 th-century setting is barely established before weвЂ™re seeing 221BвЂ™s living room standing incongruously in the street as events are recounted to Holmes and Watson. Wisely, the вЂperiod pieceвЂ™ nature of the episode and the seriesвЂ™ modern idiosyncrasies are collided early on, with trademark audacity.

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A period-juggling, genre-straddling romp, it was a highly enjoyable diversion from the series proper, and an immensely satisfying piece of seasonal TV.

For me, it was the best the showвЂ™s been since the last episode, which I also enjoyed. We can rest assured, then, that The Abominable Bride is a success. Response has varied from it being championed as the best yet to final evidence that Sherlock has finally vanished up its own back end in a confused bubble of sexism. No mean feat in this day and age (for further reference, see all other TV from the last week). It was the most-watched TV programme of the festive season, with 8.4 million on overnight figures alone.

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