If you claim that Molly Hooper is spineless, a simpering fool, someone who can’t handle her own in front of Sherlock Holmes, please press 1.
If you claim that Molly Hooper is “just” a lab helper, please press 2.
If you claim that Molly Hooper is insignificant, or that she doesn’t matter, please press 3.
If you claim that Sherlock Holmes doesn’t care about Molly Hooper, please press 4.
If you claim that Molly Hooper and Sherlock Holmes has absolutely zero onscreen chemistry, please press 5.
If you claim that Molly Hooper doesn’t really “see” Sherlock Holmes, please press 6.
If you claim that Molly Hooper is merely a John-substitute, please press 7.
If you claim that Molly Hooper can’t catch Sherlock Holmes off guard or put him on the back foot, please press 8.
If you claim that Sherlock Holmes does not need Molly Hooper, please press 9.
If you still insist that Molly Hooper is a weak, dispensable “minor” character, please smash your face onto your phone. The motion might knock your brain back into its place, as it might have been previously dislodged.
Lastly, if you will concede that yes, maybe she’s a tiny bit important but not really that much in the grand scheme of things, please press 3 again.
She’s developed hugely. She wasn’t even meant to come back after her first appearance, but she worked so well. Louise Brealey was so good. The girl with the unrequited crush became the first person to make Sherlock apologize in “A Scandal in Belgravia,” and then you see it really shift around. Whereas all of Sherlock’s emotion on the rooftop when he’s talking to John in “The Reichenbach Fall” is completely faked — he’s just trying to give his friend a bad time so he’ll be in an emotional state to believe what’s about to happen — the emotion when Sherlock turns up to Molly in that episode and says “I need you,” I mean, it’s amazing everyone didn’t just get it right there. For God’s sake, what do you think he’s thinking about? He’s gone to a woman who works in a morgue — what do you think happens next? So she’s become one of a very small select band of people he absolutely trusts. And he adores Molly, of course he does. He loves her. I don’t think she has the same sort of crush on him anymore. She’s fascinated by him, but she knows that’s not who she actually wants to end up with. She properly cares about him — and gets angry at him, and tells him off. It’s revealing that she’s in his mind palace. She’s one of the people he keeps himself up to the mark with.
Steven Moffat talking about Molly Hooper’s evolution (suggested by miraclein221b)
So apparently I’m doing a Molly & Moriarty Detectives AU webcomic now. They solve crimes using math and cats and occasionally stalk Sebastian from behind a bush. Jim’s cat’s name is Simon Newcomb the third.
I’m very proud of Jim at that shop window. He’s like “wait for me my love”
In which I overanalyze Molly's bedroom comment in His Last Vow...
We have four clues only, to discover what Molly Hooper meant – and they are the words themselves and the facial expression that followed: 1. Just the spare bedroom 2. Well…my bedroom. 3. We agreed he needs the space. 4. *tiny smile, quickly hidden behind her coffee*
Now, there are two important unknowns that must be solved first: WHEN did Sherlock use her apartment? What is the context of the word, SPACE?
As there is no way to determine the answer to either of these questions with any certainty, I am going to break them down into all possibilities, share my opinion, and then let you decide which one seems the most plausible.
First, the *when*. Sherlock has known Molly longer than he has known John, so it’s possible that he was using her apartment even before the beginning of the series…unlikely, but possible. So here are the timeframes: 1) Before he met John and the series even started 2) After he met John, before the Riechanbach Fall 3) After the RF, before he went to hunt down Moriarty’s network (or for brief stops while he was hunting) 4) After his return, before the wedding 5) After the wedding, before His Last Vow
I find the first two unlikely, as it seems to me that their relationship had not progressed to the point where he would be comfortable using her bedroom (or she would be comfortable offering it). I have listed them as possibilities, but as I find them highly improbable, I am going to ignore them for the rest of the post. The remainder of my comments will be referring to the 3-5 timeframes.
Now that we have laid out the possible time frames, we must address the second question: what does space mean? There are two possible answers. He needed the physical space, as in there was not enough room in the spare bedroom (or the rest of the apartment for that matter, to satisfy his needs) so he needed to use her bedroom specifically. This one really doesn’t make much sense. What did he need physical space for? Was he running experiments? The kitchen or living room would have more physical space than a bedroom. Did he need the privacy of her bedroom? Again, why not use the spare room? I don’t think he needed physical space or physical privacy – there are lots of other places where he could get that (he has a lot of bolt-holes). He needed a place to escape someone - meaning he needed space away from a person or persons.
With that in mind, let’s go back to the question of when. A bolt-hole is a safe place where a person can escape and hide, so here is where the first clue comes in. Molly specified a bedroom – her bedroom. If a bolt-hole is a place to hide, why not just say her apartment? If he was hiding from dangerous people because his own apartment was compromised, she most likely would have said he was hiding in her apartment, not her bedroom.
During timeframe 3, either after or during his hunt, he could have been crashing at her apartment to escape danger or for a short reprieve. The first scenario is unlikely - if he was being actively hunted, he would not have gone to Molly, because he would be placing her in danger. He could have gone to her in need of a safe place to sleep once in a while, though. This scenario makes sense to me and I consider it likely that he did use her apartment at least once after the events of the RF. However, I don’t think that Molly was referring to this timeframe when she mentioned his use of her bedroom. I have two reasons for this conclusion. First of all, he would have just used her spare room or her couch. Secondly, why did she say she agreed he needed the space (of her bedroom)? Why her bedroom? Where is the motive? I cannot think of a single reason why it would be necessary for Sherlock to sleep in her bed while he was on the run, as opposed to anywhere else. Perhaps the answer lies in timeframes 4 or 5 then.
Timeframe 4 – Sherlock is back, John and Mary are about to be married. Why on earth would Sherlock even need a bolt-hole during this time? He’s busy with cases again, and he’s helping them plan their wedding. He would have no reason to escape his house looking for a safe bedroom to sleep in. If he was in need of an escape, it would have been during the day – so he wouldn’t have needed Molly’s bedroom – he could have used her whole apartment since she’s at work during the day. I don’t think for a minute that Sherlock would choose to go to her apartment if Tom was there and she wasn’t (a bolt-hole is a “safe place”, remember?) Sherlock and Tom alone together in Molly’s apartment is anything but safe for Sherlock…or Tom for that matter.
Here we come to timeframe 5: after the wedding, before His Last Vow. John and Mary are enjoying their nuptials. Tom and Molly are still engaged. Sherlock is dating Janine – a woman he has to work very hard to pretend to love, though he cares for her not a wit. She wants to sleep with him – he’s not interested. He is neck deep in a case that is very important to him. Sherlock barely eats or sleeps when he’s on a case. Now, he has need for space. More importantly, he needs to escape his apartment – at night. He needs a bedroom.
Again we come to the question – why not use the spare bedroom in Molly’s flat? I can think of only one reason: his name is Tom. Molly’s apartment is a suitable bolt-hole because it is safe – but it can’t be safe if Tom is in it. So, Sherlock must find a way to rid his safe place of its unsafe occupant. Which is why he needed *her* bedroom. He could have come up with a million reasons as to why he needed her bedroom – but if Molly is engaged and having “lots of sex” (presumably sometimes in that bedroom) – why would she give it up? Perhaps because she is still in love with Sherlock and he was demanding that she let him sleep in her bed? Now, she could have chosen to just go to Tom’s place when Sherlock decided to sleep in her bedroom; but then there’s the 4th clue…that little smile at the end of her sentence which she hides behind the coffee cup.
It is my belief that Sherlock was staying with Molly on and off while he was dating Janine. I don’t know what he told her to convince her he needed to stay with her instead of his flat. But whatever it was, I don’t think it took much convincing. I don’t believe they were having sex, because I don’t really peg Molly as a cheater. She would have broken up with Tom before moving forward with Sherlock, and he didn’t mention her broken off engagement until the slapping scene. But I think they shared at least one night together in her apartment, possibly in the same bed, and I think it contributed to the break-up of her and Tom.
I could be totally wrong, but there is clearly something that we, the viewers, are not being told – and I think it happened recently. Molly has reached an all new level of relationship with Sherlock, as evidenced not only by the way she talks and interacts with him, but also because of the raw emotion she displayed when she learned he was using again. That scene deserves its own analysis post (it certainly has received them from a great many people already). I think it supports the theory that something deeper went on between them recently. But that is for another day.
Feel free to rip apart my analysis and point out any glaring faults in it. These are just opinions I have formed through brief observation. Sorry it was so ludicrously lengthy.