But what if John says “Please, Sherlock, if you love me…” and Sherlock like spins around to face him and is like “If I love you? IF I love you?! John, everything I have ever done since the day we met is because I love you!”
Can we talk about the scene where Sherlock is given the choice to shoot either Mycroft or John?
Because Sherlock doesn’t even HESITATE. He doesn’t ever even point the gun in John’s direction.
Instead, he goes straight for Mycroft. And what’s more is that Mycroft knows that Sherlock would NEVER, under any circumstance, harm John Watson. So Mycroft, in an unusually human and selfless act, tries to make it easier for his brother to shoot him instead.
Mycroft knows that Sherlock needs John far more than Sherlock needs him. And going by Sherlock’s reaction, the detective knows this too. And so does Eurus. And, of course, so does the audience.
Sherlock and John in this episode are shown to have now surpassed friendship - by their own admission and subsequently proven in this scene they are now are FAMILY.
No, we didn’t get a kiss. But look at them at the very end. They’re living together, looking after a baby, and HAPPY. They’re SO happy and content together.
The physical side isn’t shown, but we got much more in terms of their actual emotional relationship and how far it’s developed since series one. They’ve opened up to one another completely. Sherlock is not someone who craves a physical relationship, but rather an emotional one. What he and John have is SPECIAL - more special than having the writers simply (and lazily) throw in ‘sex’ to satisfy standard expectations.
If Sherlock had ordinary sexual cravings, I would be extremely annoyed that they don’t kiss. But what Sherlock and John actually have, I believe, transcends ‘normal’ convention. They are simply together and IT WORKS. Everyone is entitled to their own interpretation, but this, for me, is what Johnlock is all about.
The final deduction is therefore easy to make. This scene, and every other scene in the show points to one inevitable conclusion, that stares us right in the face:
You don’t need a kiss or sex scene to prove it, because that’s not the ultimate conclusion needed to establish their relationship. It never has been. The entire show has been an incredibly intimate adventure of Sherlock and John as their love emotionally matures and this finale really does convey that they have both found within each other a soul mate, someone to settle down with, someone with whom they can be truly happy.
It’s far more than just a platonic friendship - this particular scene proves this beyond a doubt as Sherlock doesn’t even CONSIDER shooting John over his own brother.
If that’s not real love, I honestly don’t know what is.
they are raising!!!! their beautiful daughter together!!!!! they teach her to walk and talk and read and take turns rocking her when she wakes up crying and sometimes if they’re all having a hard time sleeping they’ll bring rosie down to their room and all sleep in a happy bundle together
they’re happy and rosie watson has two happy dad’s who love each other and give each other kisses over breakfast in the morning and kiss each other goodnight when papa sherlock stays up a bit later to work a bit on a case before he gets sleepy and curls up next to his husband
when people ask rosie who her parents are she points to sherlock and john and says “that’s daddy and papa and they love each other very much!”
Storytelling has always been an important element of the show. Think of Rich Brook, the storyteller, and John who is telling their stories on the blog and knows when he is in one. But in S4 we get a new theme - rewritten stories.
MYCROFT: You wrote your own version, as I remember. Appointment in Sumatra. The merchant
goes to a different city and is perfectly fine.
SHERLOCK: Goodnight, Mycroft.
MYCROFT: Then he becomes a pirate, for some reason.
ADULT EURUS: You were upset … so you told yourself a better story.
JIM: I wrote my own version of the nativity when I was a child. “The Hungry Donkey.” It was a bit gory but, if you’re gonna put a baby in a manger, you’re asking for trouble.”
The concept of rewriting stories you do not like for some reason is a common theme in series 4 and is presented as another parallel between Sherlock and Jim. But this is just the surface reading because their motives differ profoundly and serve as further evidence of the fundamental differences between them.
Jim rewrites the nativity - a story of peace and hope - into a gory tale about a donkey eating the baby Jesus. Of course it is presented tongue-in-cheek and with his usual devilish charm but it is still about good becoming evil.
Sherlock on the other hand is concerned with rewriting the Samarra story because he hated the idea of predestination and not being able to outrun one’s supposed fate. So he creates his own version in which the merchant is saved and, in order to fulfill Sherlock’s romantic ideas, becomes a pirate.
So far this has been about rewriting religious or literary stories. But Sherlock does not stop there. He has rewritten parts of his own life, the parts which have caused heartbreak and have changed him irrevocably. He could not accept the fact that his own sister killed his best friend and he himself was unable to save Victor. So he created a better story, the story of a dog who was his constant companion.
But, as ever with the show, we are challenged to question this perception. Because did he really create a better story if the one central fact we learn about Redbeard is that he died, that he had to be put down? When Mycroft reminds Sherlock during the wedding, this is meant as a warning. He reminds Sherlock that loving someone will inevitably result in heartbreak. It is interesting because Mycroft is walking a very thin line by referring to the rewritten version of Sherlock’s childhood.
Conclusion: I think that the recurring theme of rewritten stories may hint at large parts - or all of S4 - not being real. Sherlock is still rewriting the story of his own life, trying to anticipate people’s responses in “scenarios” he “devised”, knowing “of at least fifty-eight techniques to refine this seemingly infinite array of randomly generated possibilities down to the smallest number of feasible variables”.
(P. S. - an afterthought: we should not forget Mycroft rewriting part of Sherlock’s story by falsifying the Appledore evidence. This is different from the above examples because someone else is rewriting a person’s story instead of the person doing it themselves. The fact that Sherlock does not seem to be happy with this proves that he wants to be master of his own storytelling.)
“What is it?” John asked. Sherlock stared at his phone, seeing the text he had sent you confirming that he would get you from the airport when your flight came in, over an hour ago.
“I can’t believe I forgot!” He jumped up. “I forgot (y/n)!”
“Well, I guess it’s a good thing I was dropping Donovan off at the airport then.” Lestrade said, walking in with you in tow.
“Thanks Greg.” You said with a smile. He kissed your cheek.
“Any time (y/n).” He left and you turned and looked at the detective and his blogger.
“I expect you to be at my flat in the morning with I’m sorry pancakes.” You said. “Goodnight John. Sherlock.” With that, you left the flat and made your way to your own in the building. Sherlock looked over at John.
“Youtube how to make pancakes?” He asked.
“I have it bookmarked and I’m already ordering the box mix from Amazon.”