Romantic Tropes in BBC Sherlock

#49 - Not That There’s Anything Wrong With That

“This trope is used often for laughs by having a male character defend his sexuality while not coming off as homophobic. I.e. ‘I'm not gay! …not that there's anything wrong with that’.”

…while the page for this trope doesn’t list any explicitly romantic connotations, it is often implemented in situations where Character A suggests something as a “joke”, then backtracks, just in case Character B really is down for that kind of thing. In this context, with Angelo’s romantic lighting, and the question that precedes John’s “...which is fine, by the way”, it’s understandable that Sherlock thinks John’s propositioning him.

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#48 - Long Last Look

“Jill has lived in her home for many years, perhaps even growing up there. But, unfortunately, plot happens, forcing Jill to leave her home, and she may not see it again...Sometimes people will say goodbye to someone as well...”

…In this “final boss battle” at the end of season three, Sherlock knows what happens next. Mycroft warned him not to get involved with CAM, but he tried to get away with it anyway, to free Mary from her past so that she and John could live happily. So right here, he makes a decision. Right here, while the villain is monologuing, he takes one long last look at John before he decides that “6 months abroad” (AKA death) is worth his happiness.

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I realized the other day this this blog is a year old now. Wow.

I didn’t make it through nearly as many tropes as I wanted to, as real life and some mental illness got in the way of me really enjoying this project. I do still have some ideas though, which I’m working on slowly. You may hear from me again soon.

#47 - I Can’t Believe a Guy Like You Would Notice Me

“Essentially it's a declaration of delighted astonishment that one's object of romantic desire seems to feel the same way, when the person saying it believed they never had a chance with their target partner.”

…Sherlock simply can’t believe it when John tells him he’s his best friend. It had never even crossed his mind before that someone could care about him enough to call him as such. Being called a best friend isn’t exactly indicative of romantic interest, but the way John chokes out “the big question” (his words, not mine) and the way Sherlock’s high praise of John is enough to elicit tears from the guests (and a hug from John) suggests otherwise. [ref x]

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#46 - Devoted to You

“Some ladies (or men) are just special. With no conscious action on their part, they are able to create an almost inescapable devotion in would-be suitors. Neither time nor distance can tame this obsession, and in the unlikely event that it does fade, the slightest contact with the man (or woman) will bring the obsession back, often stronger than it was before.”

…”Everything’s about Sherlock”, eh John? Turns out there’s a reason for that. (And not just because the show’s named after him)

From the very beginning, John has been a bit obsessed with Sherlock. When he “died”, John remained one of the only people who still kept faith in him and his abilities. Even after John had supposedly moved on and gotten married, he jumped at the chance to help Sherlock solve crimes again, describing the reunion like being hooked on a drug. And of course, there’s the fact that John jumps at the chance to storm a crack den because he’s itching for some danger and excitement in his life again (aka, Sherlock) [ref x, x]

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#45 - Converse With the Unconscious

“Bob is unconscious, for a prolonged time. Alice goes into the hospital room to talk with him. Possibly to say "How Dare You Die on Me!". Often prompts deep confessions of things she regrets never having said to him while conscious.”

…"Don’t...be dead.” is one of the only things John can seem to say to Sherlock after he falls - both to his grave, and his image on the TV. The rest of whatever he regretted not saying to him is kept hidden from us (and his therapist).

Sherlock admits to hearing the plea from The Reichenbach Fall, and in Many Happy Returns, he almost seems to give an answer... [ref x]

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#44 - The Matchmaker

“Jane is a matchmaker. More advanced cases will introduce Alice and Bob when they are strangers, because the matchmakers deems them perfect for each other.”

…Mike Stamford has one purpose in BBC Sherlock - to introduce Sherlock and John, which he does twice! After that, he practically disappears entirely, only reappearing as a brief name drop on a telegram at John and Mary’s wedding. Even during Sherlock and John’s first meeting, he says very little and let’s fate work its magic.

Despite only being in the show for a few short minutes, David Nellist sees his character as a sort of a cupid for John and Sherlock, enough to change his twitter profile picture for a time in 2014. (And even now in April of 2017, he still clings to the role.) [ref x]

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#43 - Rescue Romance

“One of the methods writers use to jumpstart relationships. A variety of Samaritan Relationship Starter. Alice is in a fix. She has tried everything. She doesn't know what to do. When all hope seems lost, Bob comes in at the last minute and rescues Alice, causing Alice to fall in love with him. “

…BBC Sherlock is one of the first Sherlock Holmes adaptations to recreate their first meeting. However, it isn’t until John shoots the cabbie, thus saving Sherlock’s life, that we (and Sherlock) see the true nature of their bond shine through - “Dr. John Watson. A real hero shot. He’s just standing, there, watching - quiet, reserved, military. Sherlock just stares for a moment. Oh my God.”; “If it begins anywhere, it begins here - the two best friends ever.”

One could also say that Sherlock saved John’s life as well. Textual clues have strongly hinted at John being suicidal before meeting Sherlock, so by running him around town, he showed him that life can still be worth living, especially now that he has someone to live for and protect. 

Most obviously, John comes to Sherlock’s rescue in The Abominable Bride (and engage in some Flirting under Fire), immediately after which Moriarty remarks that they should “just elope already!” [ref x, x, x]

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As I reach 2 months, 50 tropes, and 1000 followers into this project, I’d like to point out that I started it with the intention of it being a resource of self-defense. More often than I think is fair, Johnlock and TJLC meta writers are (have been?) attacked for interpreting something as gay that could just as well be platonic. I created this blog with the intention of pointing out that BBC Sherlock uses many of the same romantic tropes that appear in classic rom-coms that feature straight couples, in order to prove that what we see in the show is undeniably a romance.

This blog and its posts are free for anyone to scroll through, reblog, or cite in metas/discussions/etc, but please understand that in no way do I intend for the content I post to be proof of queerbaiting.

Rather, in my mind, it’s proof that the story isn’t over yet. I believe in Mark Gatiss and Steven Moffat’s writing ability and that they knowingly used these tropes in order to set up a romantic relationship between Sherlock and John. Their passion for the Sherlock Holmes stories and the Holmes/Watson dynamic is proof enough for me that the romantic arc they set up will be completed.

However, I understand that The Final Problem and the season 4 aftermath was very damaging for some fans. If this blog helps you feel better about what you saw and how you interpreted it in order to make peace with the ending, so be it, but please be aware that I do not feel the same.

#42 - Home Sweet Home

“It's time for the Happy Ending: to go, and stay, home. Nice, peaceful, safe home. And do all sorts of quiet things. Maybe settle down with the Love Interest and indulge in Babies Ever After, or just grow some flowers. Definitely stop all this dangerous adventuring stuff.”

…it may not a happy ending in BBC Sherlock, but rather a happy continuation that Sherlock goes searching for. When he returns from dismantling Moriarty’s web, he actively ignores Mycroft’s briefing session in favor of inquiring about John - he’s comfortable back on his home turf and ready to settle down into Baker Street again with him. As evidenced by his statement “What life, I’ve been away?” he clearly thinks that the two of them in 221B are a constant factor in the world that nothing can interfere with.

Even John is reminded of the good old days when he goes back to visit for the first time in years. Baker Street truly is their home together, and it’s not the same without the other - so much so that when John gets married, Sherlock moves his chair out of the sitting room in order to avoid the painful reminder of his absence. [ref x]

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#41 - Comforting Comforter

“[A person who is falling asleep] may find themselves shivering in their sleep, turning over in a really vulnerable way, or clutching themselves. [...] This is, of course, a cue for another character (say, Bob) to come along, see the sleeper (say, Alice) and react to it—by tenderly draping a blanket (or, in less providing situations, a coat) over her shoulders, petting her on the head, and saying, "Sleep tight, Alice.””

…Sherlock’s drug-induced flail about his room brings John in out of concern. He plops Sherlock back into bed and dutifully covers him with his sheet again, leaving the room with an “I’ll be next door if you need me.” The music choice for this scene makes what could be comic-relief undeniably tender - John will be there to take care of and watch over Sherlock no matter what, even if he says he doesn’t need him to. [ref x]

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#40 - Convenient Slow Dance/Dance of Romance

“This will also happen with two people who already know each other, and who have unspoken feelings for one another. May lead to a Dance of Romance.”

“So Alice and Bob, [...] are Just Friends, are attending some fancy party. For some reason, they wind up dancing to some slow romantic song that requires waltzing or some other dance typified by close body contact. Hey, that's ok, nothing special — except she's starting to blush, and he's getting all nervous. Could it be? Are they in love?”

…disregarding the fact that Sherlock is “road testing” John and Mary’s wedding waltz alone on the day of the wedding, the fact that he taught John how to dance to it in the first place is extremely suggestive. John even counters the comment in with an It Doesn’t Mean Anything, calling it “Baker Street behind closed curtains”.

The dancing lessons are brought up again in The Abominable Bride, which means Sherlock’s still thinking about them (and they probably did mean something to him, considering he loves to dance.) [ref x]

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#39 - Doppelganger Dating

“A character's new Love Interest is eerily similar (in personality, looks, etc.) to an established character.”

…Jeanette is tall, dark-haired, wears blue, and dons a long, black coat with a popped collar. 

So does Sherlock. 

Coincidentally, she’s also the last girl we see John dating on screen until Mary (who also resembles Sherlock when we first see her, with a dark hat, blue scarf, and long coat (that she never wears again)).

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#38 - Settle for Sibling

“A very simple Love Trope. Bob falls in love with Alice, but Alice does not reciprocate. Bob eventually marries her sister Carol.”

…while John is not really “settling”, nor does he know that “E” is Sherlock’s sister yet, this particular setup reflects John’s desire for more from a relationship. He’s not satisfied with what he has with Mary, so perhaps, since they’re related, there’s something about E that reminds him of Sherlock.

It also very closely resembles events in the TV show Dexter - the main character’s sister in law is subconsciously in love with him, as her psychologist points out later on in the show, which is why she married the brother (who - spoiler! - turns out to be a murderous psycho.) [submitted by @d-emonocracy​]

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#37 - Uncovering Relationship Status

“When a character is romantically or sexually attracted to another, they want to be sure that their heart is unattached before forming a serious interest or possibly even ask them out on a date. [...] In addition, if the love interest turns out to be single, the character might express satisfaction at the fact that they are available - "I'm glad" [...]”

…in A Study in Pink, John asks if Sherlock has a girlfriend, then a boyfriend (which is fine), and then expresses his relief at Sherlock’s lack of a partner, which we know is not because he’s glad he won’t be sexiled if he agrees to live at Baker Street. The way he casually brings his own relationship status into the conversation immediately after coupled with a “good”, as well as licking his lips and suppressing a smile indicates there’s a more personal interest in the answer. There’s really only one reason why John would steer the conversation in this direction, and Sherlock picks up on it. (Hint: It’s totally a date.)

In addition, John’s first girlfriend Sarah uses the same tactic on him in the very next episode. Both of these instances are listed as examples on the TVTropes website. [ref x]

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