In many ways, yes. Most immediately, it’s clear that The Final Problem was dedicated to ensuring that all the best aspects of Sherlock got their moment to shine; in that regard, no stone was left unturned. Lestrade, Molly, Mrs Hudson – even Moriarty got to return, bringing with him the same frenetic energy that characterised the show in its early days. There were plenty of classic Sherlock rug pulls too; look at how it was revealed that the prison governor was under Eurus’ control for an example of the quiet intelligence that has always characterised the show. With The Final Problem we got an episode that was as tense and engaging as The Great Game, as intimate as A Scandal in Belgravia, and as intelligent as The Reichenbach Fall – surely this is an episode that, even in its own right, would go down as a classic in Sherlock’s history?

More than that, though genuinely felt as though this was an episode dedicated to completing the story we’ve seen unfold for years – note the call backs to The Great Game and The Abominable Bride, and the subtle allusions to A Scandal in Belgravia. There’s something almost holistic about the construction of this episode, drawing together the sum total of the programme’s almost decade long history, and concentrating it into one 90-minute story.

An article I wrote immediately after The Final Problem ended. Broadly speaking, I do actually stand by it still; The Final Problem was far, far from perfect, and better critics than I have already done a good job explaining the flaws inherent within it. However, I’ll always maintain that as an episode, it was an excellent conclusion to this seven-year journey.

Plus, I finally used “holistic” in an article, so I’m reasonably pleased regardless.

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