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Looking Closer at How The Abominable Bride Foreshadowed and Can Be Used to Chronologically Decode Series 4:

In the opening sequence of TAB, Sherlock imagines a recreation of John returning to England after being dispatched by the army and the two of them meeting for the first time. As this is his dream, everything about the sequence and the comparison and contrast with the unfiltered scene in ASIP informs of his own biases and desires. Sherlock imagines coming off weirder but suaver and John being less frustrated about it than he actually was, telling us both about his knowledge of John’s love for him and his wish to smooth out the dents in their relationship.

In TLD, John writes a sequence recreating his first night meeting Sherlock using his self-insert Eurus as Faith Smith as an outlet. As this is John’s story, everything about the sequence and the comparison and contrast with their first night together in ASIP informs of his own biases, desires, and in this case especially, deeply-held fears and insecurities. John imagines Eurus and Sherlock being more open and honest about their feelings and their night together, telling us about John’s own memory of the event and his history.

Of course, more important than the differences between Sherlock’s dream and John’s story compared to reality, is the even more massive gap between their own points of view.

[Continue below the cut for more ➤]

See also: Shout out to @shinka for “Something Borrowed, Something Blue”... 10 Revealing Things From The Six Thatchers That Haunt You Late At Night, 10 Revealing Things From The Lying Detective That Haunt You Late At Night, and 10 Revealing Things From The Final Problem That Haunt You Late At Night. (#tw suicide #tw self harm #tw depression)

Bonus: Substitute, point of view, insecurities, emotional context.

Right off the bat in Sherlock’s dream, his goal with the opening war montage is clear –– to objectify John and his bright blue eyes as much as possible, while in John’s nightmare of his army experiences, everything is dangerous and happening incredibly fast. Throughout the entire comparison of all these different scenes together, this will be a constant theme –– Sherlock will constantly express how much he wants to be with John and that he’s aware John loves him, while John will continue to deny himself his love for Sherlock, thinking Sherlock does not love him back. “I spent a whole evening with her. We had chips. I think she liked me.”

In TAB, Sherlock then imagines their first meeting as him completely nailing his deduction of John and and sweeping him off of his feet. John hardly says anything back and looks more starstruck than speaks dialog, while Sherlock imagines their exchange happening much faster than it actually did. Sherlock gets all the details right –– mentioning the violin, having an “eye” on a loft, John looking down at his leg, Stamford reassuring John that he’s always been “like that,” but misses, or perhaps brushes over the emotional context of what John was going through in this scene. But John was more frustrated than anything, and angry that Sherlock was able to see through him right away, while John has been hiding himself from the world for a substantial period of time. John expresses this a lot in series 4, representing his own insecurities through subtextual means. Sherlock isn’t without his own insecurities, however, and there is gloom beneath the romanticism –– Sherlock imagines whipping a corpse with a riding crop when John walks in, while John actually meets him shortly after in the lab, and throughout the episode Sherlock frequently lashes out at John in various ways over John not understanding his feelings. This is often shown through John’s stories of Sherlock, in comparison to real John’s blog in the present day and John clearly is not picking up on how Sherlock cares for him, so it’s fitting that Sherlock’s feelings in this sequence are actually clear as day, and that John’s own recreation of their meeting in TLD is much darker (and filtered through another character and story, which in its own way, also makes his own feelings clear as day).

What’s also missing in Sherlock’s iteration of their meeting is the vast depth of loneliness and self-loathing that John is depicted with in the opening scene of the entire show, which wasn’t recreated in his dream. John’s story in TLD is set after Mary’s death –– as series 4 with TST and TLD is about the coverup and fallout of Mary’s murder at the hands of John and Sherlock, who was working with Moriarty and isn’t really dead –– and so the grief, darkness, and haunting ghosts in it are easy to assume being for that, which is the purpose of John covering up what really happened with this story, but one of the thing that’s really going on behind the true events of this episode is John approaching his own crisis point. In John Yorke’s Into the Woods, a book about stories and the five act structure, he describes virtually all stories as being able to be broken down into five acts. Act four is the darkest point of the story, the act where things continue to get worse and worse before the final confrontation, and is defined at the end by the “crisis” point where circumstances could not possibly get any worse. John is approaching his crisis point in TLD and finally reaches it in TFP, after he’s shown being shot at the end (in this episode, the gun goes off less then halfway through and at the end of the episode fades to red).

In TLD, John is also back to the point he was at the beginning of ASIP, or act one –– he’s deeply miserable and lonely, and is isolating himself from the world with presumably as little human contact as possible. John has not solved his own problem yet, which means he’s approaching his darkest point before that change can happen –– and that change will be represented by Sherlock telling him that he loves him back. But before he gets there, it’s fitting that John’s construction of this episode revolves around John being unsure whether or not Sherlock is really is a sociopath and capable of romantic sentiment (“You lie all the time, it’s like your mission.” “He’s not a monster.” “Yeah he is,” and the text from Irene), John reimagines their first night together, when John both first fell in love with him, and when he was warned about Sherlock being a psycopath. “One day we’ll be standing around a body and Sherlock Holmes will be the one who put it there,” Sally Donovan says in ASIP. “Not long ago he shot Charles Magnussen in the face, we did see it coming,” John reiterates in TLD.

John’s self-insert in this episode is represented by Eurus. Eurus is one of John’s dark mirrors, is at the heart of everything of the lie of series 4, and is John’s own primary, totally invented plot device. While John was writing the coverup and fallout of Mary’s murder, the story was mostly done and complete, but when something happened to John at the end of TLD, he suddenly had to invent a third episode that had nothing to do with the character arcs of the first two episodes –– TFP is a false catharsis of character arcs, plot points, and thematic threads, and is completely contrary to everything the show has done up to this point. It’s totally imagined by John –– so in a butcher job, in a rush to fit in Eurus where she doesn’t belong to make a third story happen and cover up what actually happened at the end of TLD, John had to use her as a plot device and slip her in somehow in TST and TLD to make sure she was there all along, all along. In TST, John writes Eurus in place of his invented cheating storyline, which was 1) covering up his communication with Sherlock, working together to take Mary down at the end of the episode, 2) sublimating his emotional cheating on Mary with Sherlock, because John tried to fuck Sherlock in every episode of series 3, and 3) done to make John look like the middle age crisis husband who took his perfect wife for granted before her tragic death, which he obviously had no involvement in, how dare you say that. In TLD, Eurus somehow obtains Faith Smith’s private note, which she hid in her bookshelf from her own father for years, deciphered what it meant, obtained it from a third party, and then added some “deductions” of her own onto the letter in order for Sherlock to find. If you didn’t have fun reading that sentence, please know I didn’t have fun typing that sentence. She also controls everyone in the prison so she was able to just leave and disappear for enough time to both impersonate John’s therapist and Faith Smith before returning to set her magical psychic trap. Eurus’s additions to the letter are also telling in and of themselves –– they’re hidden, subtextual clues on a surface layer text that was planted for someone to find.

In TLD, one of Eurus’s primary functions is to act as John’s self-insert for his first night with Sherlock. One of the ways we can tell this is by her outfit design –– while everything in series 4 is filtered through the color blue, the color representing the false narrative at work and John’s authorship, the color red represents John’s “me-substitute,” as John tells Sherlock in TST.

As @shinka explains in “Something Borrowed, Something Blue”:

The red balloon. Striking touch of red in a season full of cold and blue tones. John the Writer tells the audience that Red is a Me substitute. In others words, if Blue is the color of John’s Fiction, Red is the color of John’s Truth. Which means we can have both blue and red in one scene; as John the writer presents a scene, John as himself appears through the subtext and the narrative.

Eurus is wearing bright red as the bus lady and as Faith Smith. Eurus is John’s own subtextual substitute for himself, appearing in places where his authorship is to be questioned. Of course, also keep in mind throughout looking at the rest of this comparison and contrast, that Sherlock realizes in TLD that Eurus as Faith Smith wasn’t actually there. Bill Wiggins and Mrs. Hudson both point out that nobody’s there. So how do they remark on this and how does Sherlock realize it only to have Eurus appear again at the end of the episode and in TFP, as if she really had been there the entire time? Eurus isn’t there. Eurus is John. Eurus as John as the author, placing a substitute for himself.

John spells it out as he writes Sherlock deducing Eurus as Faith.

“Oh, of course you don’t own a car, you don’t own one, do you, living in isolation, no human contact, no visitors.”

This is something Sherlock doesn’t picture in his recreation of their meeting in TAB. In TLD, John states it in their first conversation to establish where Eurus as Faith is coming from. This is also where John himself is at the beginning of TLD on the surface layer text, and as we continue the comparison, it becomes even more obvious.

Next, Sherlock imagines John asking how Sherlock could know about his army history. John in TAB is less angry about this, as Sherlock immediately proceeds to sharing rooms instead of questioning him. In ASIP, John is frustrated someone was able to see through him right away. In TLD, Eurus angrily replies back at Sherlock, “You can’t know that.” In TAB and ASIP, Stamford didn’t say anything to him in either versions, reinforcing that Sherlock claiming he researched John in TRF was a lie meant to trick John into seeing him as a fraud so he would really think Sherlock is dead be safe from Moriarty’s clutches. This also feeds into John’s own self-loathing, as he thinks that if someone sees him for who he thinks he really is, they wouldn’t like him. If Sherlock is a genius, he must eventually notice that John loves him, and if he doesn’t say anything about it, then Sherlock must not feel the same way back. Even though in TLD, John classifies his relationship with Sherlock as a romantic one, through his self-insert Eurus as Faith.

John as Eurus as Faith is talking about two different things when it comes to Sherlock deducing her failed romantic relationship, something Sherlock doesn’t do in ASIP and has no clue about until TSOT (where he’s surprised at and jealous of John’s history with Sholto). Since this is a recreation of their first night together, John is partially talking about Sholto, but since John is writing this story now and specifically after TRF and Sherlock’s 2 year disappearance, he’s also partially talking about Sherlock. In TLD, Sherlock deduces that “Presumably you downsized” when you left your job and “maybe” when you ended your relationship. John did indeed move (and downsize) after being discharged from the army, and he moved out from the loft after TRF. In both situations, he also left his previous line of work, the army and investigating with Sherlock. The “maybe” on Sherlock’s part, written by John, means a couple of things here; first, that John thinks Sherlock doesn’t consider their own relationship to be romantic, and that Sherlock doesn’t consider himself responsible for ending it, whatever exactly it was, by faking his own death, which is what really happened in reality. Instead, as we later find out through Eurus as Faith’s marks of self harm later, John blames himself for his relationship with Sherlock being a failed one, because he was afraid to be vulnerable with Sherlock and open about himself and what he wants. This is also a remark on his relationship with Sholto, reiterating that John is back where he was in act one, now in act four. He feels he repeated his mistakes with Sholto with Sherlock and hasn’t changed as a person, that nothing will change, and that he feels utterly lost, isolated, and completely hopeless. “There wasn’t anything physical going on, was there?” “For quite some time, in fact.”

In TAB, Sherlock continues his deduction of John without interruption, as John continues staring at him starstruck. In ASIP, John continues to push back against what Sherlock is doing. Soon after in ASIP however, Sherlock recruits John on his case investigating the four serial suicides. Sherlock ironically imagines the lab meeting as the one where he came off seductive, while the one where he John agrees to join him was actually where John plunged in head over heels. It does however, contain the same truth; that Sherlock was right about him, which leaves John scratching his head how Sherlock doesn’t pick up on John loving him, which must mean it isn’t returned. And while Sherlock is aware of that, how John misses the war, and that he enjoys being with Sherlock on his work, he isn’t quite aware of just how much he saved John’s life that night.

In TLD, John writes Eurus as Faith being suicidal. Sherlock deduces that Eurus as Faith is carrying a gun in her bag with no way home, meaning she was planning on killing herself if her meeting with Sherlock didn’t go well. In ASIP, this isn’t quite as obvious, particularly from Sherlock’s own point of view, which is why it isn’t depicted in TAB. That’s why Sherlock literally remembering John walking down the street in ASIP after leaving the crime scene is so completely contradictory; Sherlock had already long left that location. John was on his own. Sherlock has absolutely no way of flashing back to that moment, and its especially obvious because it happens while Sherlock is talking about how Faith as Eurus is suicidal... John is talking about himself. John himself kept a gun in his desk drawer and was considering killing himself, before he met Sherlock and Sherlock completely changed his life, giving him a purpose and a reason to live again, as John ended up instead using the gun on Jeff Hope to save Sherlock’s life, and John no longer needed the cane. Eurus is also carrying a cane here, which Sherlock looks closer at before flashing back to his memory of John he can’t possibly have.

The flashbacks in TST and TLD are indicative of all of this being written from John’s point of view. In TST, after Sherlock discovered the A.G.R.A. stick being hidden in one of the Thatcher statues, he kneels down and picks it up in his hand, as a projector light visual effect appears over the scene and the shot cuts to the stick being held in John’s hand. In the opening scene of TST, a projector with flickering light was used to display doctored footage of a trigger-happy fall-man meant to blame the death on, showing how Norbury was a random person blamed for Mary’s death. There’s no light effect with the flashback in TLD, since the fallman has already been chosen, but instead a distorted moving of the image of John walking down the street alone. Eurus is practically ablaze on screen in her red dress, in Sherlock’s loft and walking throughout central London, carrying a cane of her own. She is John. John is talking about himself through Eurus and Sherlock, having Sherlock pick up on something about John that he didn’t realize in ASIP, as is displayed in absence in TAB.

Continuing in TAB, Sherlock starts to leave the room like he did in ASIP, but John doesn’t push back. In ASIP, John is abrasive with Sherlock about what just happened. This is another display of Sherlock not realizing how cold he can come off, but it’s also a connection to TLD in that John is not willing to let the issue drop, since Eurus continues to ask him about how he deduced her as the night continues. Also in TAB and ASIP, Sherlock talks about the rooms they can share, and judging from how Sherlock immediately brings it up in TAB, compared to how it takes longer in ASIP, we can tell he was intending to seduce John. John was also trying to seduce Sherlock in ASIP –– as he asks him whether or not he has a girlfriend or boyfriend, John remarks that Sherlock is “unattached, like me.” Sherlock panics and shoots him down, saying he’s not interested, even though he very much is. In TLD, John states this rather more obviously, with “Sex” being Eurus’s starting point of conversation. “How did you know I wasn’t getting any?” Sherlock says that he’s not an expert, but assumes that her partner had “failed to notice” her marks of self-harm, indicating that their relationship was no longer intimate. John is talking about Sholto here, or “the most unsociable man he’s ever met”, failing to notice that John was hurting, but still is ultimately placing the blame on himself for not being vulnerable, but also about Sherlock. John writes that Sherlock deducing it came down to how her partner “failed to notice” what was going on. “How do you know he didn’t notice?” Eurus as Faith asks. John thinks Sholto and John didn’t care enough about him to notice.

“Oh, well, ‘cause he would have done something about it.”

“Would he?”

“Wouldn't he? Isn't that what you people do?”

“Well, that's interesting.”

“What is?”

“The way you think.”

“Superbly?”

“Sweetly.”

John is questioning himself a little bit here, partially over how much Sholto and Sherlock returned John’s feelings. Would he? Wouldn’t he? He’s questioning whether they would have even done anything if they’d noticed John’s feelings at all. Would he? Wouldn’t he?

Sherlock arrives at this conclusion through logical means, beating around the bush of the human element, but John as Eurus as Faith loves it, which is how he fell in love with Sherlock their first night together, by learning to see the great heart behind the brain. John will go back and forth on whether or not Sherlock is a sociopath throughout the rest of the episode, and while John concludes that Sherlock is flawed like any human, he’s never able to fully answer the question of whether or not Sherlock is capable of romantic feeling.

We know that John is still unsure of this the next episode, because TFP is structured around John interrogating the possibility of how Sherlock ended up the way that he did (similar to inserting Eurus into these stories last minute where it doesn’t make sense –– why was Eurus flirting with John important to her plan? And how did she get the note from Faith to begin with? –– John also hastily inserts Sherlock having recurring dreams about Redbeard in the middle of both episodes). This is where John, through his substitute, poses the question: would he? Wouldn’t he?

In TAB vs. ASIP again, dream John is compliant (while ignorant of Sherock’s true feelings and intent), while John pushes against Sherlock one last time (also, ironically, ignorant of Sherlock’s true feelings and intent). How could he know everything about him? How could he see through him so clearly? “We don't know a thing about each other; I don't know where we're meeting; I don't even know your name.” But even though they’d just met, both John and Sherlock saved each other from killing themselves that night. John was considering shooting himself, while Sherlock, in the midst of a drug bust at his loft while feeling utterly embarassed and exposed in front of John (“This guy? A junkie? Have you met him?”), willingly took a ride with the cabbie, knowing he was heading to his own suicide. Both ASIP and TFP contain multiple references to suicide, and John’s gun in his desk drawer is shown in an episode with a case about suicide.

But John doesn’t let that happen. By using his own gun he was going to use later, John is able to save both of their lives, and John recreates this in the episode again by having him save Sherlock from Culverton –– but as he’s approaching his crisis point in act four, John is feeling suicidal again.

“Your own death is something that happens to everybody else. Your life is not your own. Keep your hands off it.”

“You were gonna take that damned pill, weren’t you?”

As Sherlock is repeating to John as Eurus, keep your hands off it, Sherlock experiences an image of a gun going off, the gun in the opening, at the beginning of the episode hovering over John, and the gun that Eurus shoots John with at the end of the episode before fading to red. Eurus is John’s substitute (including a shot of the London Aquarium, where Mary’s death was covered up). The gun goes off, with a bright flash and loud bang as Sherlock is talking about John as Eurus being suicidal.

John shot himself at the end of TLD.

Somehow behind the true events of series 4, John is trying to communicate to us that he committed suicide. John’s authorial substitute, the subtextual red herring that was laced throughout series 4, shot him. John is telling the audience that he’s tried to kill himself. Unlike ASIP, he was not able to escape his own Samarra. It’s not the fall that kills you, it’s the landing. We need to decide which way you’re going to fall. Would he? Wouldn’t he? The same scenario is repeated as John approaches his crisis point.

Though John is committing suicide through the subtextual narrative of series 4, and thus bringing about the death of the show, it isn’t a real death –– it was a faked one.

In TFP, John writes a scene with the three Garridebs brothers being hung from a couple of ropes, making it look like a suicide when it was a murder attempt (see here for context on what “Garridebs” is about). In an episode that was titled “The Final Problem” precisely because it was not the real final problem, the Garridebs moment in TFP is not the real one. John shooting himself is the third Garridebs moment –– the Garridebs wound was self-inflicted. Sherlock is utterly oblivious to this in TAB. John thinks he failed to notice. John thinks he failed to notice “the big one” deduction on Eurus as Faith’s note. That’s what people do, don’t they? Leave a note. Would he have done something? Wouldn’t he have?

“Taking our own life –– interesting expression. Taking it from who?”

Yes, he would have... but John doesn’t know the answer. He doesn’t know how much Sherlock loves him –– and he’s finally going to know in series 5.

Before John is shot by his substitute, he wonders again if his love for Sherlock is one-sided, and whether or not Sherlock fell in love with him too, that first night when they met and saved each other’s lives, sitting under the pink glow of Angelo’s restaurant. Or, if Sherlock even noticed John liked him at all.

“I spent a whole evening with her. We had chips. I think she liked me.”

“We spent a whole night together. It was lovely. We had chips.”

But the reality is that Sherlock does love him –– if he’s failed to notice anything, it’s because of his emotional repression and fears of vulnerability, and the two of them both failing (especially on Sherlock’s end, given he’s aware of John’s feelings) to communicate with each other openly about how they feel. It’s not about either of them being solely responsible for ending the relationship, like John is so eager to assign blame to himself. They’re both idiots.

In TAB, Sherlock leaves his meeting John with a wink and a smile. “Shall I, um ...? Smile and wink. I do that sometimes. I’ve no idea why. People seem to like it –– humanizes me,” Sherlock says in MHR. Sherlock thought he was being obvious about his seduction in ASIP, and was even more blatant about it in reconstructing it in TAB.

John, however, remains unsure, and continues to deny himself.

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