I love you bro? Because yeah what else could it be? Or maybe i care for you bro? I mean of course the fact that John cares for Sherlock was not clear from before.
This is a man regretting that he did not say I totally care for you bro.
Right?
That teary eyed “No, sorry I can’t.”
CAN’T SAY WHAT? WHAT EXCEPT I LOVED HIM, I REGRET NEVER TELLING HIM THAT?
Why even bring up the point. The fact that John grieving for Sherlock with something unsaid in his heart. Why just fucking why.
Fuck everything.
Fffuuu You know I rrreeeaallly want an explanation from mofftissf for this
What could it possibly be?
Sherlock you snored every time we shared a hotel room?
I never liked your purple shirt?
I ate the last of the scones Mrs. Hudson made us even though I denied it hotly at the time?
What if it was to mirror the OG restaurant scene in ASIP and highlighted to everyone how much better suited John is with Sherlock? Oh, I’m clutching at straws but I’d love it if they actually included the deleted scenes and that the footage is still rolling around because it would be a joy to see what could’ve been (ie gay bar scene) 🙂
Not to be that person, but “Thor Bridge” is Watson recollecting a case which occurred much earlier in his and Holmes’ timeline. The actual case is thought to have taken place sometime around 1900. Definitely post “The Empty House”, but about 10 – 14 years prior to “The Lion’s Mane”, when Holmes and Watson were, sadly, most definitely no longer living together.
From “The Lion’s Mane” (considered the second last Holmes story chronologically):
It occurred after my withdrawal to my little Sussex home, when I had given myself up entirely to that soothing life of Nature for which I had so often yearned during the long years spent amid the gloom of London. At this period of my life the good Watson had passed almost beyond my ken. An occasional week-end visit was the most that I ever saw of him. Thus I must act as my own chronicler. (X)
And in ‘His Last Bow’ which takes place several years after “The Lion’s Mane”, it is clear that Watson and Holmes haven’t seen one another in years:
But you, Watson”—he stopped his work and took his old friend by the shoulders—“I’ve hardly seen you in the light yet. How have the years used you? You look the same blithe boy as ever.”
“I feel twenty years younger, Holmes. I have seldom felt so happy as when I got your wire asking me to meet you at Harwich with the car. But you, Holmes—you have changed very little—save for that horrible goatee.” (X)
This is where my own headcanon differs from ACDs, since mine allows for retirementlock.
I believe that by the time the last stories were written, the social climate had changed so much that ACD could never have allowed Holmes and Watson to live together, so he separated them perforce.
I don’t know if anyone here has read ‘Lark Rise to Candleford’ by Flora Thompson, but there is an interesting bit in it which I think refers. It’s set in the Holmes/Watson period and chronicles a young girl’s journey to adulthood. But one bit has always stuck in my mind. In her remote Oxfordshire village, people were only tangentially aware of the news: it was an agricultural area, and life was hard on ten shillings a week. But ‘big news’ did get through, and one of the ‘big news’ things that did was the Oscar Wilde trial of 1895 which introduced the concept of homosexuality to the general populace of her village. Immediately after this, the small cottage in her village inhabited by two old soldiers who’d served in the wars together, and then set up house together – perhaps as pals, perhaps as a pair, who knows – was vandalised and graffitied with homophobic slurs. (I can’t access my copy right now to check, so I’m not sure if there was physical violence as well.) Fortunately for them, common consensus of the village was against the perpetrators, and I don’t believe they were driven out.
But that this could happen says a lot about how attitudes changed from 1880 to 1930: if anything the world became less tolerant during the period ACD was writing, not more. Hell, ACD himself censored his own comments about his friend George Turnavine Budd because he thought they were too revealing about his crush. The writings of Havelock Ellis, Kraft-Ebbing and Freud over this period brought homosexuality out into the open, but in order to decriminalise and ‘allow’ it, they medicalised it, and they medicalised it as ‘other’ and ‘wrong’, so it became less, not more acceptable.
It is in this context that we can read any ACD that ‘separates’ or delegitimises Holmes and Watson as a pair, such as the ‘repudiation’ of the Turkish Baths in later stories as ‘expensive and relaxing’ (read decadent and feminising) compared to the ‘bracing English article’ (read ‘not at all gay: who, me?’ but manly and decorous). The later separation into Watson in Queen Anne Street and Holmes lonely in Sussex can also be read in the same way, as ACD’s penance for allowing them to be seen as too close: a gay unhappy ending.
It’s important, I think, not to forget that writers don’t write in a vacuum, and that ‘tempora mutantur et nos mutamur in illis’: times change, and we are changed in them. The ACD who wrote the latter stories had lived through all the changes, and he changed Holmes and Watson to make them acceptable in their time. Had he made them openly gay, they might, tragically, never have survived to be with us today.
So, to cut to the chase, I think it is perfectly legitimate to allow at least the possibility of retirementlock!
This is such important and historically relevant analysis. Remembering also that his friend Wilder ended up going to prison for several years because of the homosexual subtext in his books.
Wilde and Sir. Doyle were friends and it likely affected Dr. Doyle greatly. He would not want the same to happen to him and would have been uniquely aware of the political climate he was writing in.
I also think the point that @datmycroft is important about how their rooms at Baker Street-did not have a yard-. The books mention Dr. Watson talking about looking outside their window to a tree in their yard, but where they lived in London had absolutely no room for a yard.
We already know that Dr. Watson is mentioned as being an unreliable narrator and I think that the canon ‘slip’ is in there as a sort of wink that even though he was forced to write them as being apart, that does not necessarily mean that they were and they did not actually retire together. Their living together in a house is the only way in which there could be a yard for Dr. Watson to see a tree in.
It has been said several times that media does not happen in a vacuum and it is just as true back then as it is now. Media, politics and social structure have always been intertwined and it goes both ways. Just as Media affects culture, media is affected by culture and creators have to be aware of what fall out and reaction they may receive from their works.
This is going to sound terrible, you guys, but the way I always interpreted the canon was that John and Sherlock are in love, but they either separate due to the political climate of the time or personal reasons.
I think that because you can argue that Arthur Conan Doyle wrote Watson and Holmes as mirrors for him and a combination of several men he seemed to harbor feelings for, and because Doyle inevitably permanently separated from all of these men, it would actually make sense within the narrative for John and Sherlock to separate.
However, analyzing the details with the tree/yard and with a more optimistic eye is completely valid and arguable. Either way, I have always thought of the pair as desperately in love even when apart, as they do say things to each other like, “I have seldom felt so happy as when I got your wire asking me to meet you”. I think that if they did separate, it was politics and safety reasons rather than personal ones because of the fondness between them after all those years. It could also be possible that they didn’t live together, but visited each other more often Watson let on in his narration.
Just name dropping here, but also remember what happened to ACD’s friend Roger Casement in 1916 (whom Doyle had used as an inspiration for the character of Lord John Roxton in his 1912 novel The Lost World). Shortly after Casement was hanged for treason in 1916, ACD wrote His Last Bow (published 1917). During his trail, the Black Diaries were published, once again creating an atmosphere of heightened homophobia combined with political mistrust. Nevertheless, ACD started a petition to pardon Casement, which was unsuccessful.
This case shows that still at the beginning of the 20th century even alleged homosexuality could cause social and physical death of the person labelled – it wasn’t just about some homophobic slurs. Being identified as homosexual could – combined with other factors – lead to physical extinction of the person involved. And ACD was made repeatedly aware of this fact in his social circle. Keep that in mind when reading Holmes and Watson.
Growing up in a small town in Texas in the 60’s every one who was gay either moved out of town or married and went deep into the closet, just hooking up at the one secret gay bar in town or cruising in parks. No one was open unless they enjoyed unemployment and gay bashing. So as a kid reading about Watson getting married I just thought he was pretending to be straight so he and Holmes could avoid destruction.
All of theses are very good points. I honestly agree with @datmycroft that the line in ACD’s book Thor Bridge is a dead giveaway. Watson writes:
It was a wild morning in October, and I observed as I was dressing how the last remaining leaves were being whirled from the solitary plane tree which graces the yard behindour house. [x]
The place where they lived in 221B Baker Street was a town house with no back hard. Even back then the street that he chose for the fictional house was condensed and the buildings had no ability for yard.
It may look like upper Baker Street may have space, but there was a rail line that ran behind the houses. The only time in which Dr. Watson could have had a yard with Holmes is if they were in Sussex.
Sir. Doyle and Wilde were close friends.
Wilde’s books were used against him as evidence. In addition @isitandwonder point about Sir. Doyle’s friend Roger Casement being targeted for being homosexual, Sir. Doyle was uniquely aware of the issues of being homosexual and would have edited his books accordingly so as to protect himself.
Even with that, there was still a lot of subtextual romanticism in the books, and probably only the amount he thought he could get away with and still be safe. The cases were more important to write about then the underlying relationship yet somehow he still always emphasized Holmes and Watson’s dedication to each other. It is entirely plausible canon that Dr. Watson had retired with Holmes but both of them made sure to edit any writings so as to protect themselves.
What is it with Lion’s Mane? Some Sher!!oly was attacking me on Twitter, claiming that Holmes had a fling with Maudie? That proves that Sherlolly is canon & has the estate’s approval. The estate only approves of Het Holmes adaptations.
That isn’t true at all – The Adventure of the Lion’s Mane takes place when Holmes is in retirement, and Maud Bellamy is a young woman. The only thing Holmes says about her is that ‘Women have seldom been an attraction to me, for my brain has always governed my heart, but I could not look upon her perfect clear-cut face, with all the soft freshness of the downlands in her delicate colouring, without realizing that no young man would cross her path unscathed.’
He doesn’t say this to her, he doesn’t say anything else of the sort about her, and he certainly doesn’t have a fling with her. All he does is say that he’s not into women but that he can see that she’s pretty and that young (straight) men would like her. I’ve written about the fact that this reads as far more gay than straight (taking background information into account as well) for the second and fourth issues of @retiredbeekeepers’ Practical Handbook of Bee Culture if you’re interested, but honestly, I think it speaks pretty well for itself.
As to the rest of their argument, I have no idea what they think that has to do with Sherlolly, and they’re wrong about the Conan Doyle estate. There are two excellent posts on this subject, which you can read here and here. I want to reiterate, in particular, that all of the Sherlock Holmes stories have been in the public domain in the UK since 2009, so the estate couldn’t interfere with BBC Sherlock even if they wanted to, and even if Andrea Plunket ever did have any right to call the Holmesian shots (which she didn’t), she died last year.
In short: you can tell whoever you were arguing with that they were completely, embarrassingly wrong.
I remember the pointless fight lmao. The lengths people go to establish something absurd.
Plucket is who people are really talking about when they mention “The Estate” and heterosexuality. Plucket was NOT actually a part of the Estate. She simply claimed she was. She was a homophobe trying to get money and with her death it is unlikely such behavior will continue. I feel it is important to emphasize that
that Plunkett was nota descendant of Sir. Doyle and and to reiterate Vivahate’s point that Pluckett did not actually have legal ownership of Sir. Arthur Conan Doyle’s works. She just wish she did and too many people just let her get away with it so as to avoid the legal hassle of dealing with her. The REAL estate have generally been passive about the whole thing and have not come out as being against any kind of homosexual portrayal of Sherlock Holmes.
Also, Molly Hooper is an original character created and written by Mofftiss. She is property of BBC. While Sherlock Holmes is public , Molly Hooper most certainly is not. Writers need to be aware of that because anyone who writes about her absolutely can be sued by BBC for taking intellectual property if they try to sell or make money off of their work.
She is not Maud and most definitely not a part of the original ACD canon or public domain.
Any literature written and sold based off of Sherlock Holmes and possibly inspired by BBC needs to -not- include Molly for copyright reasons.
Yeah, I’m starting to think that as well Nonny, especially since they literally replaced his role as the storyteller with Mary. And HEY guess whose backstory we got instead? Mary. And guess who took over John’s (and essentially Sherlock’s) role as partner / detective? Mary. Like I feel like they decided Mary was indeed more important than John ever was. AND it’s even more frustrating for me because they WERE building Mary up to be an exciting villain, and instead made her a terrible plucky … whatever the hell they ruined her to be. Bleh. I fear that they really DON’T value the Holmes/Watson dynamic. Which is so bizarre given what we had pre-S4, because it WAS all about their relationship, even when Mary was there. So I don’t get why suddenly John was relegated to a side character and Mary had more screen time dead than John did in all three eps. *sighs*
It’s especially weird because Moftiss did interviews where they basically said that the John/Sherlock friendship was the heart of all the Holmes stories and why the stories are so popular. So why they would suddenly do essentially a 180 on that, I have no idea. My only explanation for S4 at this point is “2016 was a slow slide into an alternate universe & also affected Moftiss’s brains” lol.
LOL, yeah. That’s why I was so confused too. Their relationship is so important to them that they felt they had to tear it apart, it makes no sense at all.
I’m barely joking when I say that Mary is a virus. She’s infected the story and made herself essentiel by taking the place of another (John).
She is John in TST, that’s the whole point and reason why she and John are OOC.
The only part she’s failed is that Sherloc doesn’t listen to her when they’re with Norbury and that’s why he died: he didn’t listen. And even that, Sherlock will ignore Vatican Cameo in TFP.
We can say without much sacarsm that they could have killed John instead and we wouldn’t have seen the difference.
I mean, wouldn’t that have been perfect?
Mary is:
a nurse where he was a doctor;
a former assasin where he was a soldier;
someone Sherlock wants to protect;
his conductor of light in TST;
the one telling him how to act with people;
the one telling their story;
a Watson.
It’s always Sherlock Holmes and Dr Watson to the audience, so what if it’s Mary and not John? Mary is better, John is a cheater, wouldn’t that have been karmic justice? She is loyal, not him! As she’s a woman, Moffat could make her seek comfort with Sherlock and voila! Your Holmes/Watson you so desperatedly craved, you sick shippers.
It’s insiduous, but Mary has destroyed John without even killing him.
That’s why we need to go back to a John’s POV, immediately. He needs his journey to find himself again and take his place in the Circle of Life in the story back.
I had a day off from work, so I decided to reread Laura Mulvey’s seminal (ahem) feminist essay on gender in film, Visual Pleasure and Narrative Cinema (opens a PDF), with BBC Sherlock in mind, and maybe jot down a few notes. Then this just sort of happened.
So this essay is dazzling and unsettlingly brilliant. It’s been a long time since I read it, but the weight and power of it stuck with me, even when I couldn’t remember the details of the argument.
It is so tempting to dismiss or reject a theory like Mulvey’s – to say, “No, not for me, it’s not like that. Cinematic pleasure doesn’t have to be misogynistic. It can be empowering, it can be radical and transgressive.” Of course I want to say that, because I’m a feminist and I love movies. I love visual media. Furthermore, a big part of what I love (maybe you can’t even call it a “part”, because can it really be separated from the whole?) are the powerful erotics of cinema.
Naturally, I want to claim that power as a force for “good”, but can I? I want to say… yes. But it’s a hesitant, provisional yes, that I think HAS to come with a Mulvey-shaped asterisk. We *cannot* forget this essay, because as easy and tempting as it is to ignore it or dismiss it or claim it’s outdated and irrelevant, it is tempting *precisely* because cinema is such a highly seductive force that it’s almost impossible to resist. And when we are seduced, logic and reason evaporate in a mist of pleasure.
Another really interesting meta! It raises so many interesting points my brain can’t think about clearly enough at the moment, but I hope to come back to them. But two things I do want to mention 1. I love your point about the female characters in Sherlock not being coded for strong visual and erotic impact (apart from Irene who is a special case). This is one of the things I love about the show. I’m not saying the intention had anything to do with feminist concerns – it could be just toning everyone else down so as to concentrate as much visual pleasure on Sherlock himself. But I do like the final effect – that the women on this show are not presented as conventionally sexy or glamorous, that they are not noticeably younger than the male characters, and that they are, in terms of appearance, much closer to “ordinary” women than is the case with a lot of TV shows. (My impression is also that there is a difference in this respect between British and American TV, with a stronger tradition in American TV of female characters being exceptionally sexy and beautiful.) 2. I also love the point you make about Sherlock being at once sexually available to the viewers but ultimately sexually unobtainable, an object of desire, but being closed off sexually as a character. I think the tension this creates is part of his mystique and appeal (not necessarily conscious) and that is another reason why I think the writers wouldn’t fully develop any sexual or romantic theme for him. It would reduce the effect of this tension and then also of this kind of appeal. I’m not saying I can’t imagine them ever doing this but this tension seems to have been part of the package, especially in S1 and S2. I sense a slight change in the way visual pleasure and this tension work in S4 and I wonder if it is connected to the notion of Sherlock becoming “more human” (or “more ordinary”).
Thanks again for your thoughts!
I sense a slight change in the way visual pleasure and this tension work in S4
I tend to agree with you, on this. Certainly Sherlock is still devastatingly attractive in S3 and S4, but I think there has been less emphasis in recent seasons on shooting him in this beautiful but stylized and distancing way. It’s hard to picture Lana Turner dressed like a junkie, with greasy hair or ratty clothes. 😉
And yeah, this shift is probably because they are trying to make him feel more human and relatable – not so glamorous and remote. They’re using a visual language to illustrate his character development.
I wonder about Sherlock in S4, though. He seems to vacillate wildly between someone who is glamorized, sexualized, and objectified and a more desexualized version. Junkie Sherlock is very sexual. his gestures – louche, wearing dressing gowns over his clothes (bedroom wear as outerwear – what would you say to a female protagonist wearing a sheath dress and silk robe?). Also – the creepiness of TLD where he is the object of Culverton’s fantasy (Smith stares at Sherlock as he sleeps – the very epitome of dangerous male gaze). The energy of that creepy interaction drives the momentum of the whole episode. Opposite really in TST and TFP where he looks just beige….down to his makeup. What I think overall is: for a male character to embody the female principal in film (objectification by the male gaze) it has to be carried out by the characters in the movie. We, as viewers, are perhaps not wired to pickup on this exception, except by example. When we have that in-film-proxy (once was John, in TLD – Culverton Smith), the character of Sherlock does assume this role.
Luckily for you, I’m in a good mood, so I’m going to go through this nice and rationally.
Yes, as a matter of fact, I am aware of that. As it happens, I’m an English literature undergrad, and have not only read all 4 novels and 56 short stories, but studied them extensively.
Perhaps you’re unaware of other adaptations, so let me inform you that in The Private Life of Sherlock Holmes, Holmes is gay (see point 6), in Elementary, Watson is a woman, Moriarty is also Irene Adler and the series is set in New York, and in Basil the Great Mouse Detective, the characters are mice. Also, Sir Arthur Conan Doyle cared very little for Sherlock Holmes, even going as far to say that ‘If in 100 years I am only known as the man who invented Sherlock Holmes then I will have considered my life a failure’, and, despite claiming that ‘Holmes is as inhuman as a Babbage’s Calculating Machine, and just about as likely to fall in love’ in 1892, he later wrote a play, and when appealed to by William Gillette, who was to portray Holmes, for permission to alter his character, Doyle replied ‘You may marry him, murder him, or do anything you like to him.’ He didn’t care about his characters being altered.
You are completely avoiding sociohistorical context. Between 1887 and 1927, men could not marry men and women could not marry women. In fact, homosexuality was a criminal offence in Britain until 1967 and the Marriage Equality Bill was only passed in England THIS YEAR. Sir Arthur Conan Doyle’s close friend, Oscar Wilde, was sentenced to two years of hard labour as punishment for ‘gross indecency’, i.e. homosexuality. Do you know what was used against him in court? The Picture of Dorian Gray – his novel – because it contained queer subtext. Doyle wanted to portray Watson as a heart in contrast to Holmes’ head, and as such, he had to be romantic. Hetero romance was the only option in the period in which he was writing. Also, arguably the only reason that Watson was even originally given a wife was that Sir Arthur Conan Doyle wanted to conclude the Sherlock Holmes narrative after The Sign of Four, and so needed a reason for Holmes and Watson to go their separate ways. When he then returned to it, Mary’s presence made the stories clunky through Watson’s repetitive descriptions of how Holmes would contact him and he’d say goodbye to Mary to go with him on a case, and so Sir Arthur Conan Doyle made use of a time jump to write Mary out in a single line when he made his third reluctant revival of the narrative with The Adventure of the Empty House.
Men don’t have to be straight to marry women. Wilde was not straight, and he was married to a woman called Constance Lloyd. Biromantic/sexual and panromantic/sexual men marry women. That doesn’t make them unable to also experience romantic and/or sexual attraction to men. John never says that he is straight, only that he isn’t gay (true) and isn’t Sherlock’s date (also true). That’s very open-ended phrasing that doesn’t rule out attraction to men/a man (and, in fact, series 3 creates plenty of space for a bisexual reading).
On that note, I’m immensely amused that you are so scandalised by the concept of Holmes and Watson being written into a romantic relationship, yet have no issues with the fact that the stories have been translated into the 21st century (a decision which, at Anatomy of a Hit, the writers stated they felt automatically provided them with ‘license to be heretical’), that Irene Adler was portrayed as a lesbian dominatrix, that the meaning of ‘RACHE’ was inverted, that the Reichenbach Falls were exchanged for St. Bart’s Hospital, that Mary Morstan was portrayed as a contract killer and that Charles Augustus’ surname was changed from Milverton to Magnussen to account for his change of nationality from English to Danish and that he was portrayed as the head of a media corporation.
There is nothing wrong with wanting something that you enjoy to happen on screen and hence be more accessible to you, particularly if that thing would also be socially beneficial by providing (much needed) positive representation to marginalised groups.
Shipping makes me happy. Fandom makes me happy. Sherlock makes me happy. It’s so unnecessarily rude of you to come into my ask box under the cowardly cover of anonymity to try to take that happiness away from me (you failed completely, I might add), when it literally affects you in exactly 0 ways.
So, very belatedly, I just finally watched the Granada Holmes “The Empty House,” with Jeremy Brett and Edward Hardwicke. As followers of the Granada rewatch will know, I quit watching the first time around after they changed Watsons following “The Final Problem.” I will do a separate post that’s just about that episode soon. But first: I could not help but watch “Empty House” with “The Empty Hearse” in mind. Gatiss at least must have been a Granada Holmes fan, so I know he had “Empty House” in mind when he was writing “Empty Hearse.” (Indeed, there are specific things in “Empty House” that I think show up in TRF/TEH, such as the framed print of the Reichenbach Falls hanging above the mantel in 221b ( –>the oil painting of same that Sherlock is supposed to have helped recover in TRF), the champagne celebration with Mrs. Hudson at the end (–>champagne celebration in 221B with Mrs. Hudson, Lestrade, and Molly and her new boyfriend). And yet, I think when you put “Empty Hearse” up against “Empty House,” it reveals some interesting things about why Sherlock went off the rails after the hiatus. (If you don’t think it went off the rails, you might not enjoy what’s coming up very much.)
The short story is: there’s good and bad in both adaptations. But in “Empty House,” most of what’s bad was more or less unavoidable. In “Empty Hearse,” the bad–or at least what I consider the bad–is deliberate. “Empty House,” like the canon story it adapts, basically resumes Holmes and Watson’s pre-”Final Problem” relationship. “Empty Hearse” inaugurates a completely new one–one which, even within the context of that episode, doesn’t make a whole lot of sense.