Watching a program steered – in whole or in part – by Steven Moffat is a particularly unique experience. It's like watching an obsessive painter, after months or even years of work, finally putting the perfect finishing touches on a work of art. The messy, disparate parts come together and for a moment it's beautiful and joyful to look at. But then the artist is in such a frenzy that he can't stop working on it, and he smudges paint over part of the landscape in his excitement to add a jetpack to a cherub, and the composition falls apart, and the whole thing's a mess again.
看史蒂文·莫法特的节目或多或少都是一种特别独特的体验。这就像是看一个着了迷的画家，经过几个月甚至几年的工作，终于把一件艺术品给完美收尾了。这部影片将把凌乱的不同片段整合在了一起，一瞬间就变得美好、有趣。但这位艺术家就是如此地狂热，不停地工作，在原景上又添加了过度的包装，反而喧宾夺主，将整个事件又搞的一团糟。
The one saving grace of Sherlock: The Abominable Bride is that the downright awful bits of the episode are sectioned off pretty neatly, so we can look forward to an hour-long fan edit that cuts out all of the terrible nonsense and only keeps in the good bits. Fortunately the good bits comprise the majority of the episode's running time, so for the next part of this review we'll treat "The Abominable Bride" as though reviewing the hour-long fan edit, and focus on the story of the ghostly bride Emelia Ricoletti (Natasha O'Keeffe), and her penchant for murdering beyond the grave.
《神探夏洛克：可恶的新娘》唯一好的是从头到尾好的坏的片段剪切地很整齐，所以我们可以期待粉丝剪辑的1小时版本，可以减少很多废话连篇的章节，只保留好的部分。幸好，好的片段已经包含了这部剧的主要剧情，所以下文的叙述就好像我们在回顾粉丝的剪辑版本，专注于幽灵新娘艾米莉亚·里科莱蒂（饰演娜塔莎·奥基弗）复活杀人的癖好。
A brief prologue recaps the familiar details of Holmes (Benedict Cumberbatch) and Watson's (Martin Freeman) first meeting, substituting the clean, clinical setting of the modern morgue with the dingy and unhygienic backdrop of a nineteenth century St. Bartholomew's Hospital. The opening is a welcome bit of fan service – a live-action recreation of all the Victorian alternate universe Sherlock fan fiction that is undoubtedly out there – but after the opening credits roll things really get moving, as the episode introduces one of the best and most classic mystery story setups out there: a person seen walking around after seemingly being confirmed dead.
华生（马丁·弗瑞曼饰）出现的场景，不再是19世纪圣巴塞洛缪医院里又整洁又简陋的现代太平间。一开场就是粉丝特供——无疑是现在和维多利亚时代时空穿梭的夏洛克同人娱乐小说——但在开场片头之后的故事还是很感人的，这一集介绍了一个最好最经典的神秘故事：一个看似被证实死亡后却又在现实中到处游走。
Emelia Ricoletti isn't just walking around, however; she starts her post-mortem life by shooting her recently widowed husband, and then becoming Victorian London's very own ghostly serial killer, with an emphasis on male victims and wedding-themed crime scenes. Sherlock thankfully dismisses the identical twin theory right out of the gate, promises a mutton-chopped Lestrade (Rupert Graves) that he'll inform him of the true murderer's identity once he's solved the case and then… completely forgets about it for a few months.
然而，艾米莉亚·里科莱蒂不只是走走；她开始了她“死后的生活”，射杀她新婚的丈夫，成为伦敦维多利亚时期在婚礼上迫害男性的幽灵连环杀手。夏洛克还好否定了同卵双胞胎的理论，用一份碎羊肉向赖世德探长（鲁伯特·格雷夫斯饰）保证，他会找出真正的凶手，然而……几个月后，他已经忘得一干二净。
Yes, that does seem a bit out of character, particularly given how revved up the detective is by the nature of the murder. Fortunately the episode skips right over those few months to the point where the Abominable Bride emerges yet again, this time threatening a well-to-do aristocrat whose country manor is unfortunately wreathed in atmospheric fog at night. From this atmospheric fog emerges the terrible Mrs. Ricoletti, to inform him of his impending death. Her prediction proves to be fatally accurate.
是的，有点出乎意料，这要如何推动侦探判案的进程？还好，影片直接跳过了这几个月，可恶的新娘再次出现，这一次预言在一个浓雾笼罩的夜晚，事件发生一个富贵庄园里。就在这浓雾里，里科莱蒂太太现身了，宣告他即将死亡。预言成真。
Like all good mysteries, the clues for solving the case of the Abominable Bride are casually dropped into the episode along the way in the guise of comic relief and character moments, as the women in Sherlock and John's lives make pointed remarks about how they never seem to be mentioned in John's stories – outside of their function in the narrative, of course. These moments blend nicely into the witty banter between characters, which is as sharp and funny as it's ever been. It's also a clever and subtle commentary on the subject of certain people being left out of historical accounts, due to not being considered noteworthy by the people writing said accounts.
和所有神秘事件一样，能够拿到的线索都像是路上的插曲或是漫画人物一样的幌子。这个女人给夏洛克和约翰提出了尖锐的问题，是在他们原本的故事中从未出现过的问题——当然是在故事本身之外。这个人物将那些原本历史上不以为然的人和事，聪明地巧妙地重新提了出来。
Of course, "The Abominable Bride" is (mostly) set during a very important time in history for British women, as evidenced by Amanda Abbington's Mary Morstan (still a spy, even a century into the past) being a member of the suffragist movement. While protesters sport "Votes for Women" sashes on the street, however, there's another women's movement working behind the scenes to create a boogeyman for men with guilty consciences about things that they've done to women. It's just as well, really, that this League of Furies didn't make it into the pages of history books; modelling your outfits after the Ku Klux Klan is a surefire way to make sure your movement doesn't age well.
《可恶的新娘》的背景（大部分）是在英国妇女历史上非常重要的时期。阿曼达·艾宾顿饰演的玛丽·莫斯坦（尽管一个世纪过去了，仍旧是间谍）是女权主义运动的一员。当时，抗议游行高举“女性投票（选举）权”的旗帜。但是，对男性残忍杀害的背后，还有另一个女权运动在背后运行，她们在重演那些坏男人对妇女的虐待。庆幸的是这个联盟的愤怒并没有成为历史书上的一页。这个联盟的造型（继3K党之后），确实是个明智的方法（有点像邪教）确保了这个女权运动最终没有成为一个时代的标志。
Altogether, the solution to "The Abominable Bride" manages to dovetail quite neatly with the actual history of the women's suffrage movement. There were, after all, members of the more militant suffragette movement who were willing to sacrifice their lives for their cause (though none who killed for it), and the American women's suffrage movement in particular had strong threads of white supremacy, which makes the Klan hoods pretty apropos. The somewhat simplistic explanation of body-swapping and multiple murderers is nicely complimented by details like the mirror trick used to create a ghostly apparition, and some of the moments in which characters encounter the ghostly bride are genuinely scary. If it had focused entirely on the Victorian setting and its story, "The Abominable Bride" could easily have been one of the best Sherlock episodes so far. Unfortunately, it did not.
总之，《可恶的新娘》中的女权主义运动还是比较接近史实的。毕竟，最激进的女权主义运动的参与者都愿意为了他们伟大的事业而献身（尽管没有人为此牺牲）。像美国妇女选举权运动，还有很强的“白人至上”的种族想法，使得政党还表现得比较中肯。尸体的偷换，多个杀人犯的解释有些过于简单，但细节处理又非常棒，例如利用镜子来创造一个幽灵，还有一些角色遇到鬼（新娘）的时候非常惊悚。如果《可恶的新娘》完全在维多利亚时期的设定框架内，那么这恐怕是迄今为止《神探夏洛克》系列中最好的一集。不幸的是，并不是这样。
The modern plot is essentially a prolonged version of the it-was-all-a-dream twist – prolonged in the same way that bamboo torture is prolonged. Apparently the season 3 cliffhanger ending of Moriarty (Andrew Scott) being back from the dead couldn't wait until season 4 to be addressed, and so it butts its way into "The Abominable Bride" as Emelia Ricoletti's story merely becomes a means by which to solve Moriarty's return from the grave (ironic, considering the themes of the Victorian storyline). To make matters worse, the solution to the Moriarty mystery isn't shared with the audience. Apparently he's really dead, but he's also back, but he's definitely dead, but Sherlock doesn't want to reveal what that means just yet. So after all that, we've still learned nothing.
现代的情节基本上是一个加长版的梦境——延长了折磨的痛苦。显然，第三季的悬念结束于莫里亚蒂（安德鲁·斯科特饰）的死而复生，已经不想等到第四季再出现，所以就粗鲁地加入到了《可恶的新娘》中，因为里科莱蒂的事件仅仅是作为莫里亚蒂复活的一种手段（讽刺的是，这成了是这部维多利亚的主题）。更糟糕的是，莫里亚蒂之谜并不能与观众分享。显然，他死了，但他也复活了，而夏洛克也不想透露任何东西。况且，我们也看不出什么玄机。
On the off-chance that Sherlock's showrunners are reading this, please note that you don't always need flashbacks and flashforwards, and Inception-inspired dream layers, and unreliable narrators, and epic twists, and arch-nemeses standing in front of a dream waterfall explicitly yelling their defining character traits at one another. Sometimes it's better to just have a ghost, a murder mystery, and a nice cup of tea.
如果《神探夏洛克》的制作人能读到这篇文章，请注意，你不要总是闪回来再闪回去（倒叙穿插），又构建一个灵感梦想的层面，还有不可靠的叙事，史诗般的曲折，空架一个瀑布让两个对手在那表现自我。有时，只有一个鬼、一个秘密谋杀、一杯好茶，反倒更好。
原文：Sherlock: The Abominable Bride Review – A Beautiful, Terrible Mess
出处：http://screenrant.com/sherlock-abominable-bride-review/
作者：H. Shaw-Williams
译者：@EdShen_南陳太子深