Series 4 and The John Problem
[...] Previously, we had thought that John was going to have to have an arc that was resolved in Series 4, in part because of the
arc framework we had of the whole narrative, and in part because Sherlock changed in Series 3 and John kinda regressed, at least in his relationship to Sherlock. Specifically, we expected some movement, and ideally a resolution or major development of John’s sexuality. So, all that… did not really happen. If it did, it did not happen the way we expected. In my opinion, before casting judgment, this means one has to reevaluate one’s analysis to some degree, and this is my attempt at a start of that process.
My
initial impressions of the first two episodes were that John’s response to Mary’s death was closer to rage than grief. I still think comparing it to Reichenbach too closely (let alone with the implication that Mary’s death had more of an impact, since he didn’t hallucinate Sherlock as far as we know) seems counterproductive. Further, I thought that this was
John’s belief that Sherlock’s superhuman coming to bite him and Sherlock on the ass, big-time. It seems completely irrational because it
was completely irrational, as he implicitly acknowledged by telling Sherlock Mary’s death wasn’t his fault in
The Lying Detective. In any case, clearly John always thinks Sherlock can ‘solve it’ and/or is the master of any situation, or at least that’s the attitude he normally develops under stress. See:
The Sign of Three and his demand that Sherlock just ‘solve it’. And, of course, John’s guilt over his behavior toward Mary is no minor factor.
John was also kinda drifting further away from Sherlock in
The Six Thatchers, which is what I thought when Sherlock chose Mary as the better or more useful partner early on in the episode. Sure, that’s correct on the merits, but it’s not suggesting any sort of understanding or valuing of their dynamic as partners and/or John’s value (to John, anyway). At no point in
The Six Thatchers does Sherlock directly demonstrate to John he values and trusts him, even though you could argue everything he does is for John. This is a continuation of the issue he had in
His Last Vow (where he continued to help Mary because of John, or even instead of John). So John clearly felt pretty alone and even isolated.
As I said, I liked how subtly the infidelity and John’s continuing unhappy life with Mary was handled: it continued the tendencies we saw in
His Last Vow and developed them by having John have the emotional affair with Eurus (yikes!), though it’s unclear how much of that was manipulated. Of course, he still chose to follow up, so clearly it’s a sign that John continued to feel trapped. The ‘Antichrist Rosie’ conversation in
The Six Thatchers did show a certain ease and some bantery dynamic with Mary, but the intimacy was a sham, since he just started texting and flirting with someone else right after. However, we do see that the surface
His Last Vow narrative was more or less intact. There was no ‘secret plan’ to deceive Mary, and John really did his best to follow through on Sherlock’s insistence that he forgive Mary. (This doesn’t mean that there’s no subtext, by the way, just that they don’t make a habit of returning to and/or redoing the plot of previous episodes.) As of the beginning of
The Six Thatchers, it seems that John
was, just barely, coping with his new role as a husband and father, but not very well. However, he blames himself and (by extension) Sherlock, rather than Mary or perhaps the situation he’s (partly manipulated to be) in.
Anyway, as I’ve said, given that John believes that it’s his and particularly Sherlock’s fault for allowing Mary to die, his complete (semi-psychotic?) mental break in
The Lying Detective makes sense. We never do get an explanation, so we’re left with John’s Mary hallucination being apparently unrelated to the other hallucinations and/or unusual mental phenomena in
The Lying Detective. I have to run with the assumption that it’s more or less a contrast or mirror plotline than something causally related to Eurus or Culverton Smith. Since there’s no ‘plot thing’ to mitigate this as I had initially supposed, it’s just that John is struggling with seeing himself (and Sherlock) as monstrous. There’s definitely some projection going on, if you go by the last conversation in
The Lying Detective, where John talks of Mary idealizing him. Anyway, he definitely has Sherlock’s Otherness on his mind (Sherlock as a ‘monster’ tying in with the ‘superhuman’ thing). Sherlock’s a monster, but his Mary avatar says it’s ‘our’ monster (in other words, John’s initially repressing the idea that Sherlock’s
his monster).
My thought process was that clearly John doesn’t think he’s Mary’s John (as he tells Sherlock), but he’s also not
Sherlock’s John. And we see that quite clearly: he acts quite differently and/or ‘OOC’. He’s not acting like our John, because he doesn’t see himself that way. John’s having a significant identity crisis as well as a crisis of faith in
The Lying Detective, essentially. Faith in himself as well as faith in Sherlock, as these two seem to be connected. We know that Sherlock knows him– he predicted John’s behavior 2 weeks out! he demonstrably knows him much better than Mary– but then, from John’s pov, Sherlock’s just that good. He could do that with anyone. Yes, it’s surprising, but it’s not really proof he’s
known by Sherlock to John. Certainly, it doesn’t go both ways at that point.
As I said in
my review of The Final Problem, S4 has John moving toward his own version of Sherlock’s claim that he’s ‘not a saint, not a hero’ in
His Last Vow. Obviously, John’s not even pretending to be a ‘high-functioning sociopath’, which is probably (in part) why people would say this is somehow character assassination and/or OOC for John. However, in
The Lying Detective, John was focusing on Mary’s idealization of him, much like the sociopath persona is Sherlock’s idealization of himself, more or less. These personas (both of Sherlock and of himself) were haunting him– sort of literally, given Mary’s hallucination. John being
haunted is perhaps a better description of what was going on than John having a ‘semi-psychotic break’, since there were no other symptoms of an altered mental state except for being a lot more stressed (and angry– at Sherlock, at himself). You can take ‘haunted’ as a metaphor that is being made literal: John is
haunted by unresolved issues, more than he ever had been. We’ve heard before that he’s ‘haunted’ by the war (because he misses it). And now he’s literally haunted by all the things he can’t accept about himself, about Mary and about Sherlock, which helps explain why Mary tends to say stuff about Sherlock that John denies or won’t admit. One benefit of this reading is that the Mary hallucination isn’t automatically a sign John
cared more in some absolute sense about Mary’s death than he had about Sherlock’s. The fact is, John simply– literally!– cannot be with Sherlock anymore as long as he has these mental blocks and idealizations in place.
So anyway, apparently Mary predicted John’s mental state after her death, and told Sherlock to ‘go to hell’ so that John could rescue him. In retrospect, her claim in
His Last Vow that John can’t know that she’s lied because that would “break” him and she’d “lose him forever” wasn’t simply self-serving bullshit as many people have thought. In other words, it always pays to pay attention to surface narrative, or it bites you on the ass. It was still primarily
selfish, but Mary’s power over John (born of manipulation as it may be) is real. Regardless, it’s clear that Mary’s
solution for John’s predictable issues was a further sign of her not understanding John. I was struggling with this initially– isn’t it a given that they rescue each other, save each other, as Sherlock said in his wedding speech in
The Sign of Three? If the show is making us question this, surely something is wrong, and we cannot take the ep at face value. But no, we’re supposed to question this, I think, at least insofar as assuming John’s always ‘the hero’ is also more idealizing John, which John says outright that Mary’s always done. So, Mary’s theory that John needs to save Sherlock was born of that idealization, even though (of course) in the end John did rush to save Sherlock in the hospital.
Of course, this brings us to the extremity of John’s violence in the morgue, which people have apparently flagged as OOC. Initially, as in
my post on Johnlock in S4, this hadn’t really struck me as starkly as it did others. My John has never been super-fluffy, and as I said,
I agree with @thecutteralicia’s point that this is consistent with John’s adrenaline-driven desire to keep hitting Sherlock after the one time in ASiB (and in TLD, he’s obviously under a lot more stress, as well). For many people, it seems that John’s physical assault is a dealbreaker for Johnlock (given that no plot-based or other extenuating circumstances appear). That’s fine: that’s always the viewer’s prerogative. For me, it’s enough that I see the characterization as being consistent and a believable progression from past behavior, and I believe this fits that criteria.
It may seem like more of a (temporary) regression, of course. This hasn’t been unusual so far in the show– in fact, we’ve had multiple regressions coupled with any progress for the characters (
The Hounds of Baskerville regressing after
A Scandal in Belgravia,
His Last Vow regressing after
The Sign of Three, etc). However, here we come back to the issue of John’s arc (or the lack thereof). In retrospect, I agree with
@birdymary that Series 4 confirms that BBC Sherlock has primarily been concerned with an arc for Sherlock Holmes, showing his progression from ‘great man’ in
A Study in Pink to a ‘good man’ in
The Final Problem, as proclaimed by Lestrade, and it should be judged on those merits. Sherlock’s journey to forgiveness has often been seen as having gone too far (as in, he forgives too much, is too self-sacrificing, has too much of a ’heart’, even), but I think those concerns all ignore the whole point (and existence) of the humanization arc in the first place. John, on the other hand, does not have an arc so much as
character development. That is, his characterization involves periods of growth and regression, but it is not formally structured as an arc. The Johnlock arc
does still exist even in S4, in my opinion, and it remains tied to John– but it is an indirect thing, largely tied to the subtext and interstitial places in the narrative. John’s growth and his relationship to and with Sherlock still drives the story but isn’t the primary focus. Further, in my current analysis, that joint growth in John’s characterization and in Johnlock culminates in
The Lying Detective, rather than the final episode of Series 4. I believe this fits in with the expected point for the climax as suggested by the arc meta narrative, but I’m not sure and would appreciate further input on this point.
To reiterate, the lack of an explicit arc for John is due to the primary focus being on Sherlock’s growth, and his adventures with John as his partner, as Mary’s narration and/or the framing monologue at the end of
The Final Problem tells us. John’s own development– being tied to the subtext– is thus also shown indirectly.
Initially, my main problem with
The Lying Detective was that the purpose of John and Sherlock’s conversation at the end was unclear to me. It seemed vaguely like hetero-baiting. After all, John pushes Sherlock to pursue a romance (with Irene) and insists on its importance. John’s role in the show has often been to be the voice in support of human (including romantic) feeling, which is one reason for the tie between John and Johnlock in the narrative. Anyway, my conclusion so far has been suggested by
Ivy’s reading of the gap between The Lying Detective and The Final Problem: that Moffat and Gatiss intended the viewers to fill in the blanks, and for the act of understanding the narrative to be highly collaborative. Thus, I’ve said in my Johnlock-focused meta that I feel that the
The Lying Detective conversation was meant to be suggestive of the kind of subjects John and Sherlock covered, and the kind of emotional release and resolution that’s suggested by John finally crying, Sherlock finally hugging him, and so on. John admitted, painfully, that he wasn’t perfect, and he was haunted by Mary’s idealization and her putting him on a pedestal. By his final acquiescence to Sherlock’s gentle touch, John accepted that both he and Sherlock were only human, and he saw that
Sherlock accepted that as well: “it is what it is”. In the end, that was all that John needed to start to resolve the main issue he was struggling with.
My initial read of the last scene of
The Lying Detective was that John was ‘still breaking’ and needed to be saved; I presumed that this would somehow be the focus of
The Final Probelem. Instead,
The Final Problem resolved Sherlock’s arc, with both John and Johnlock being resolved in
The Lying Detective. Basically, I’m leaning toward the idea that John was firmly on the road to healing both himself and his relationship to Sherlock as of their final conversation in
The Lying Detective.
I agree with
@ivyblossom‘s interpretation in that they’ve clearly turned a corner in
The Lying Detective (as indirectly evidenced by
The Final Problem), mostly due to John’s development. That is, yeah, it doesn’t have to be seen as a corner turned in a romantic direction, but there are multiple cues in
The Final Problem that it has been. I find John’s calm response to Sherlock’s calling him ‘family’ and Mary saying they ‘could become’ something more than they are, as well as his unusual use of casual touch at Sherrinford to be particularly telling. One can certainly argue about whether this is ‘enough’ or good representation, as
I’ve said, but that’s beside the point when evaluating the best reading that would fit and explain all the facts, as presented in the narrative. Basically, what I’m saying is that a newly romantic relationship between John and Sherlock does best fit and explain all the facts, particularly what
Ivy called the ‘rifle on the wall’ presented by Sherlock and John explicitly being stated as needing a romantic connection at the end of
The Lying Detective. The rest of it is left for the viewer to figure out, but I believe it’s mainly heteronormativity preventing that. Otherwise, that’s the main obstacle to John and Sherlock’s relationship (implicitly) resolved.
[...] It is not within the scope of this meta to critique the way that all this was portrayed and accomplished, so much as to outline my reading of John’s characterization and his progression in Series 4. It’s indisputable that a critique can always be made, and further, that it certainly already
has been and
will be made by enough people that I need not weigh in on the subject. I’m left with an increased appreciation and an ongoing interest in the subtlety and the nuanced nature of John’s growth in Series 4. I would be thrilled to see fandom explore this further, but I am also satisfied with the canon as it stands.
