The Lying Detective.... Does anyone else feel like they got kicked around a bit? Not so dissimilar to Sherlock's beating in the morgue.
I really liked and disliked this episode in equal turns. In time, I'll probably err more on the side of 'liking' but, for now, the wind's sorta been knocked out of my Molly / Sherlock sails. And, surprisingly, it has nothing to do with 'Sherlolly.' Or, maybe, it has everything to do with Sherlolly? Okay, still trying to work that one out. But, first....
Culverton Smith truly was the most despicable and 'evil' baddie on Sherlock to date. This isn't to detract from Moriarty or Magnussen, but let's face it - we didn't need to see Culverton's victims to understand 'Who' they were, nor the full impact of his body count. They could be "anyone" - although I suspect, given the rather chilling scene in the hospital and Culverton's (sexual) arousal during the serial killer banter, all while he played with the doll, the majority of his victims were children. Or, children were the stand-in for those most vulnerable.
Sherlock pointed out in ASiP - "We've got ourselves a serial killer. Love those. Serial Killers are always hard. You have to wait for them to make a mistake." And, "There's always something to look forward to. I love the brilliant ones. They're all so desperate to be caught. Appreciation! Applause! At long last the spotlight. That's the frailty of genius, John, it needs an audience."
This was especially true for Culverton. He was already famous for his business, charitable and philanthropic work, but that isn't what he was most proud of. He was proud of his ability to make people into 'things.' To strip away humanity and life, and create 'dolls.' Unfortunately, and unlike the cabbie in ASiP, Culverton had no audience to appreciate his work and genius. Perceiving himself similar to the 'Queen' - he was too powerful and untouchable. So, every once and a while, he had to drug those closest to him and tell them his darkest secret, watching and getting off on their horror, fully knowing they would soon forget his confessions. Granted, it was a temporary fix, which would eventually get boring. Culverton was supremely careful to not make mistakes and Sherlock was tired of waiting. Entrapment was the game, knowing once he was caught Culverton would sing like an 'canary' - fulfilling his desire for an audience and glory set against competition.
But, all of that really isn't the point of my ramblings. I just sorta had to get that off my chest.
What really struck me most about this episode (besides the *amazing Hudders) was, once again, the parallel between Mary and Molly and the two men they love. It doesn't matter if that love is reciprocated, or unrequited, because no matter what John, or Sherlock, did or didn't do, the love each women holds is conscious and unconditional. Joni Mitchell in her song, A Case of You, put it like this:
"I'm frightened by the devil, And I'm drawn to those ones that ain't afraid." "I met a woman, she had a love like yours, she knew your life, she knew your devils and your deeds, and she said Go to him, stay with him if you can, But be prepared to bleed. Oh, but you're in my blood like holy wine, you taste so bitter, bitter and so sweet. Oh, I could drink a case of you, darling, and still be on my feet. I would still be on my feet."
These remarkable women know the men they love. They can see them, and standing firmly on their feet. What really matters, though, is if these men are capable or willing to see themselves? They are, however, getting a clue.
John said it most eloquently, in his heartbreaking, tearjerking confession:
"I'm not the man you thought I was, I'm not that guy. I never could be. But, that's the point. That's the whole point. Who you thought I was, is the man I want to be."
We've heard a similar sentiment before:
"If I wasn't everything you think I am, everything that I think I am, would you still want to help me?"
In their own way, consciously or unconsciously, both John and Sherlock want to be better versions of themselves; better men. Mary and Molly, and the roles they fill in the protagonist's lives - challenged them to do so. Even when it wasn't wanted, or actively pushed away.
John: "Why can't some things be unacceptable and we just say that?"
Therapist: "You're holding yourself to an unreasonable standard."
John: "No, I'm failing to."
Tremendous layered meaning in that conversation about grief. And remorse. But, Sherlock's sentiment of The Abominable Bride is certainly ringing through loud and clear.
"One half of the human race at war with the other. The invisible army hovering at our elbows. Tending to our homes. Raising our children. Ignored. Patronized. Disregarded. Not allowed so much as a vote. An army nonetheless, ready to rise up in the best of causes. To put right an injustice as old as humanity itself. So, you see Watson, Mycroft was right. This is a war we must lose. Look around you. This room is full of brides. The women I...We have lied to. Betrayed. The women we have ignored. And disparaged."
As a sidenote, the modernized meaning of "bride" describes a woman about to be married, or a newly married woman. It's roots are Germanic meaning "bru" - to cook, stew, or broth, which normally described the role of daughters. Etymology suggests the word goes back even further to Irish history / lore as a representative of the Celtic Goddess Brighid, eventually becoming Saint Brigit, or St. Brighid of Kildare, whose name was known as Bride. She is the patron Saint of healing, poetry and inspiration, among other things - for she is imbued as the Great Goddess, the triplicity: Maiden, Mother, Crone.
The name Mary is a derivative of Margaret. Molly, however, and for at least the past one hundred years, is considered a 'stand alone' name, having no roots. But, this actually isn't quite true, for long ago 'Maili' or 'Molly' was the nickname of Margaret. While Molly and Mary have their own meanings, Margaret simply means: Saint. And both of these women have proven themselves to be Saint-like. And, sinner. I know, mixed message, but still.
I just sorta dig how the writers weave these webs of interconnectedness...whether or not it's intentional.
The point is, John and Sherlock are held to higher standards by the women who love(d) them, even when they they don't believe they are deserving or capable of being those men. There is a desire, however, to Become, and maybe, for now, that will have to be good enough. Although I very much liked Mary saying, "Well then, John Watson. Get the hell on with it." It really is time to get on with being the man (men) you were meant to be.
Sherlock - "You know, it's not my place to say, but it was just texting. People text, even I text. Her, I mean, woman. Bad idea. Try not to, but, sometimes. It's not a pleasant thought, John, but I have this terrible feeling from time to time that we might all just be human."
Sherlock - "Mmm, no. Even you."
I have no clue if Sherlock is hung up on Irene Adler. It breaks my M/S relationship heart to think so and not just because of romance or sentiment. But, because #MollyMatters. She is the true compass North of this show and she deserves a story, and happiness and, most of all, fulfillment - which does not have to be contingent upon Sherlock. But simply because she's Her.
*while all quotes are accurate, they have been paraphrased for emphasis.
