looking for Isaac Whitney
Shezza in the crackden: he’s in a self-imposed state of punishment. Where is he? 'At then end of the world, wit the scum of the earth’. Why? Because he realized when it was too late that John and him had a chance and he blew it. His guilt is overwhelming, his pain, unbearable.
Then we have John literally bursting into this scene: bisexual hero John Watson at the height of his prowess.
Inside he’ll find a smorgasbord of symbols about their situation.
Begining with: Isaac Whitney. That name has stuck with me because it’s so evocative of sight. Eye-saac Witness. I-sick: witness. There’s definitely a reference to sight, there, to seeing something, possibly to being sick. Maybe John is here to witness that Sherlock is heart sick or sick with guilt.
First, we see skull and cross bones, representing death & danger, two penises, what looks like two single lens reflex camera: reference to the wedding? The mayfly man? Certainly a reference to looking and seeing.
In yellow paint, that could be seen as the TBB cypher paint, we get two u’s that are almost a closed circle. To me, these look like eyeballs in profile with the lens part open: seeing eyes? Reminds me of Sherlock’s eyeball tea of sight from TSoT. They also look like two golden rings, though they’re open. Could be a reference to wedding rings. Broken wedding rings?
Left panel looks like it has a blue crown on it. Reference to Moriarty’s line, ‘in a world of locked rooms the man with the key is king’? John’s about to bust in here like a boss, so maybe. He’s definitely, 'the man with the key’, to Sherlock’s heart.
Two green circles that look like balloons are there, too; one higher than the other. Could be a tall/short reference,
Here we see the first symbol inside the house: a large, heavily lidded blue eye with a dilated pupil. Bill’s own very large open eyes echo this visual.
This is the place where Sherlock sees and where John will see that Sherlock sees.
We see Wiggins as a clear foil for Sherlock, even having some legit deduction skills of his own. Here we see him very concerned about keeping John out of this place. Sherlock doesn’t want John to see this. Or does he? Is it coincidence that he’s at the same drug den frequented by Isaac Whitney? Could his homeless network not have told him exactly where Isaac would comes knowing that Kate would go to Mary for help and that John, jonesing for action, might come bursting in here?
Down the hallway, this eye will be lit in such a way as to look momentarily white,
The use of a line above the eye and at an acute angle from the tear duct is reminiscent of the eye graffiti warning left outside Baker St,
Note that on TBB, it is John who sees this being painted and doesn’t say anything to Sherlock. He witnesses this happen,
In the plot this is an eye that says, 'we’re watching you’, it’s a threat. But, in the context of John and his feelings for Sherlock it’s an eye that says, 'look. Look at Sherlock. Look at Sherlock’s signs’. To me, this is John’s counterpart to Sherlock’s happy face. One means, 'I love you’, and the other means, ’see that he loves you’.
Here we are at the beginning of HLV and maybe John is finally ready to see Sherlock’s full humanity and to see the feelings Sherlock has for him.
Next, we get this very meaningful tableau: the open eye, a green loveseat. The eye is blue, has a dilated pupil (Sherlock’s signifier of being in love for ASiB), it is open and has a heavily lidded romantic quality as well as pretty, short lashes. We can see this as Sherlock’s eye: he is in love and he sees it. He also sees this couch underneath that is reminiscet of the Baker St couch, where they sat with their arms around each other during the stag night. A couple of happy faces are directly underneath the eye. This green tile is very evocative of the kitchen tile at Baker St,
Contrast: during the stag night, they spent a significant amount of their time on the couch doing this,
Being blind to what’s going on between them. Tessa, Sherlock’s foil, telling Sherlock’s story of heartbreak, having to literally yell to get them to wake up.
Well, Shezza is awake and that’s why he’s kicking himself. This is one of the great ironies of Shezza: it’s Sherlock at his most sober. The truth is the most sobering thing of all and to counter this he goes to get high but is made no less sober by it.
Have we ever seen Sherlock look more raw, more aware than as Shezza? He’s got his eyes wide open, literally and figuratively. (I should add, 'up to this point’, because post-shooting Sherlock at Baker St is even more wide-eyed and aware. He’s like Shezza 2.0.)
Here we get several happy faces, like what Sherlock painted on his wall. I am of the opinion that the happy face is a sign that Sherlock put on the wall for John showing him that he loved him, before TGG and that he shoots the wall in his frustration that John doesn’t understand and continues to date Sarah. We’ve seen that though Mrs Hudson says that fixing the wall is coming out of this rent, the happy face has never gone away. Conceivably someone fixed the bullet holes and kept the happy face? Why would they do that if not at someone’s request? This happy face is very meaningful to Sherlock and he has convinced a repair man or Mrs Hudson to leave it despite her qualms.
We also see a teddy bear, like the one we see in John’s office. The paws appear to form and 88. A reference to 1888?
Here we see the arches and the banister making heart-like shapes,
Kicking Bill’s ass, here, is symbolic of what he’s done to Sherlock’s heart,
Right here: this is the visual of how John left Sherlock. Beaten down, under symbols of love, under an arch of love, all messed up,
Another U/eyeball/ring. For all we know Sherlock brought the yellow paint and did these as a form of catharsis. Maybe, it’s a reference to, 'you. It’s always you…’,
On the wall next to Shezza: a red scribble. Looks like a heart, maybe; it is red. Also looks like an S and a W. Sherlock Watson? A clenched fist?
The tops of the heart are the arches, the bottom, where they meet, John. That mustard coloured bedspread. Symbolic of his cowardice, reticence? The yellow light of his mixed messages to John?
Underneath the blue paint is green paint. Sherlock is wearing blue and Isaac is wearing green. Under Sherlock’s blue/straight façade is the truth of his green/envy.
I love that Sherlock doesn’t turn his whole body towards John. He looks over his shoulder in this flirtatious way, showing his butt with his hand on his hip. It’s both shy and brazen. Somewhere between Manet’s Olympia and Le Déjeuner Sur L'herbe,
The best thing about this look is that it reminds me of the way that Kevin Spacey looked at Mina Suvari in American Beauty. Clearly love and lust,
A single yellow cypher on the back of the house. I can’t make it out. Is it painted by Shezza? The way he rips that door down, I think this house gives him superpowers. I’m sure he could’ve climbed up there, no problem.
I do know that there are two blue dots here and the cypher’s general shape is similar to the TBB symbol for 39,
39 is half of the clue for, 'dragon’, in TBB.
“Interestingly, the word dragon derives from two separate Greek words. One word means “a huge serpent or snake” and the other means “I see clearly”. Dragons in European traditions have wings, allowing them to soar freely above, resulting in a perspective that encompasses a huge panorama below. In this context, dragons can be thought to symbolize the ability to see the “big picture” as well as the ability to see far off danger or future circumstances.” (Italics mine)
Finally, Sherlock frowning at the sight of Mary: when his guard’s down, everything shows,
This is definitely Mary that just took John on a sex holiday and he’s none too happy,
Your knight in shining armour is not supposed to put you on the same horse as his wife.