In BBC’s Sherlock, a camera becomes a character. We are privy to the eccentricities of a genius and drawn into the dark silhouette of a cityscape. The sense of cinematographic seamlessness is a rare feat, one of many elements that appeals to the discerning television-watcher.

The often creepy, often thrilling soundtrack is another pleasing feature, as is the demurely on-point representation of personality through wardrobe choice.

If you’ve never watched one of the hour and a half long “episodes” (they’re more like movies) I strongly urge you to, and as soon as possible: the pilot is sublime. Each season is only three episodes, but you definitely get your money’s worth; each show feels like an opus and can be watched time and time again.

And if you’re a fan of Arthur Conan Doyle, prepare yourself for a plethora of intricately wrought references the original series. Many plots in the show play off of elements from many different stories, and everything from titles of episodes to hat-choice is affected.

Unfortunately I can not give the entire series an A+. The first season was delectable, and the second even better in some ways, though less consistent. Season 3 began this month after a two year hiatus, and two episodes have come out so far.

There are things I love about the third season; exciting new characters, sentimental moments and some suspense, but the subliminality of the previous seasons has turned into gimmick, and an overall loss of atmosphere. I wasn’t aware of this disappointing death until I re-watched some earlier episodes and was made aware once more of the top caliber quality.

I am optimistic that the finale of this season might change my mind altogether, and tie everything together memorably. After all, the writers of Sherlock are clearly capable of mastery in mystery and I look forward to brighter, darker days in the Sherlock saga.