"99% of music for film and TV is authentically, earnestly, emotionally written without that ironic sense — which means that we feel people’s pain. We don’t minimize it. We try and, in a way, guide the audience, sometimes sort of holding their hand through things. We can be a throughline through complicated plot sequences. We can be an emotional companion really….I hope what we do is to be there alongside the audience, feeling and expressing at the same time with them. Then somehow, on a really good day, an audience member watching the show can be experiencing their own emotional journey and they’ve got someone musically doing that at the same time. When it works really well, I think there’s a sort of a connection between the two and you always feel your emotions are validated by the music."
Sherlock composer Michael Price, from his interview with mid0nz.
This, this, is why the music for s3 was the most satisfying thing about it. Because it felt consistent, unironic, true and trustworthy, and shored up the emotional expectations that weren’t always supported by the writing. Bravo, Mr. Price.