#listen this isn't anywhere near as coherent and polished as I wanted it to be

[thatscarletflycatcher]

I might be interested in that “Sherlock writers/producers power trip” stuff 👀

Calling it a power trip was a bit dramatic of me XD but I do think the creators of Sherlock had a... weird relationship with the character of John Watson. He gets two different and incongruous characterizations, and I don't understand the rationale behind it.

The most clear example of this for me is how this changes between the Unaired Pilot and A Study in Pink. The Watson of the UP is self assured, practical, intelligent, competent, moral (if somewhat grim and with a veneer of darkness lurking beneath the surface) and mature. The Watson of ASIP is insecure, impractical, rather dumb, extremely loyal to a person he just met for no reason, a failure of a petticoat chaser, and essentially an adrenaline junkie. And these are two versions of the same story.

On the UP, the first meeting between Sherlock and Watson is marked by Watson's curiosity and earnest admiration about Sherlock's deductions; the same scene in ASIP shows us Watson being taken aback by Sherlock's behavior. When they are at the scene of the crime and Sherlock asks Watson if he's aware that he's speaking his appreciative remarks out loud, UP Watson just calmly asks if that bothers Sherlock; ASIP!Watson hurries to apologize. And in general he hesitates, apologizes and feels out of place much more across the latter version.

In the UP, what "cures" Watson's limp is that he notices that something has gone wrong with Sherlock's attempt at dealing with the cabbie, and he jumps to go help/save him. Watson is a doctor, his vocation in life is centered around helping and saving people; his psychological symptoms are caused by a sense of purposelessness, as he's been discharged after being wounded, and lives on a military pension. Now that he has met Sherlock and realized the ways in which Sherlock is self-destructive, he has found new purpose. ASIP, by replacing this for a foot-chase, replaces this element of characterization (intelligence, moral fiber, decisiveness) with... John is just an adrenaline junkie -and doubles down upon this through Mycroft words, and by removing from the ending scene the lines where Sherlock calls Watson "my doctor", and Watson tells Lestrade off by reminding him that Sherlock must eat if he is to be useful in future. In both versions we have the set-up of the gun Watson keeps in his drawer (that he may come to use to kill himself) and the payoff (that he ends up using to save Sherlock's life); but whereas in the UP it is of a piece with the characterization I mentioned above, in ASIP it feels like a leftover they couldn't remove because it was so deeply baked into the plot.

The framing of Watson's killing of the cabbie is also different between UP and ASIP: in the UP, we only see Watson leaving the restaurant, then the cabbie dying, and "realize" with Sherlock who the shooter was. It is implied that he guessed where the cabbie was taking Sherlock, called the police, made a detour to pick up his gun, and then headed to Baker Street where he chose the vantage point of a house across the street, from which he watched the cabbie and Sherlock, and waited till the last possible moment to shoot, in case bloodshed could be avoided. This shows that he can keep a very cool head under pressure, that he underwent military training and it stuck, and that he is moral and practical, grounded and efficient.

ASIP!Watson picked up his gun after his interview with Mycroft -the implication that he means to use it as protection/defense for Sherlock and himself from... MI5/6. Now that does give some credence to Mycroft's insult that Watson is brave, but bravery is what people say when they mean stupidity. You were in the army, Watson! You should know better! (the Mycroft subplot also includes two painfully awkward attempts at hitting on one of Mycroft's underlings, a woman clearly much younger than him. As I was saying, Watson loses maturity between the UP and ASIP). Watson then only follows Sherlock and the cabbie because of the phone setup that had been previously solved by Sherlock (so no application of intelligence here), does not think of calling the police, and then we watch him desperately searching for the room where Sherlock and the cabbie are, then when he casually lands on the room across that one, he screams Sherlock's name to the top of his lungs, and as he is not heard, he ends up shooting the cabbie as a last desperate effort. No planning here, no cold head, and some very stupid decisions (had the cabbie been armed for real, and he had stumbled into the room or been heard, chances are one or the two would have ended up injured or dead).

I think the contrast between the two versions of this other scene showcases this really well:

ASIP: Sherlock: are you alright? Watson: Yes, of course I'm alright. Sherlock: you just killed a man. Watson: Yes, I... That's true, innit? (pause) but he wasn't a very nice man.

UP: Sherlock: you are alright? Watson: of course I'm alright. Sherlock: you have just killed a man. Watson: I've seen men die before -good men, friends of mine-; 'thought I'd never sleep again. I'll sleep fine tonight.

The unaired pilot plays more with setting up a "dark side" to Watson; his profession as doctor makes him mainly caring and helpful, but it can also make him clinical and detached at points; I don't think it is a coincidence that Donovan tells Watson to take his distance from Sherlock because "One day just showing up won’t be enough. One day we’ll be standing round a body and Sherlock Holmes will be the one who put it there", but by the end of the episode the police is standing around on a crime scene for which the killer was... Watson. This last thing, again, carries over into ASIP because it couldn't be taken out without breaking the plot, but has been removed from the rest of Watson's characterization in the episode. Mind you, I don't think "exploring the dark side of John Watson's personality and maybe turning him into a villain or a conflicted antihero" is a good idea, but it was set up in one, discarded, and not replaced in the other.

I could write another post with the differences in the characterization of Sherlock between the two tellings of the story, but exploring that here would make this answer way much longer than it needs to be. I'll summarize it by saying that UP Sherlock is written to have some complementarities with UP Watson: Sherlock is rather juvenile/childish, too focused on "the game" to take care of himself, assess risks or evaluate how his behavior affects others. He has a hard time understanding the feelings of others, and that coupled with an enjoyment of tricks and disguises and games is what makes him difficult for other people to deal with. Basically, Sherlock is very intelligent in a rather theoretical, detached way, whereas Watson is a grounding presence because he's full of common, practical sense. ASIP Sherlock is... an asshole. It's not that he doesn't understand the emotions of others, he despises them. It's not that he's reckless, it's that he's super cool and dangerous (and suddenly is a master of combat what). He's basically a sort of pop culture übermensch?

The ASIP characterization for both characters dominates series 1 and 2 of Sherlock, and develops through two main dynamics: one is the "Watson as a silly wife in a bad 1950s sitcom", that is particularly intense and weird in The Blind Banker (which, in all fairness, was not written by mofftiss).

The first Sherlock-John scene in TBB is a juxtaposition between Sherlock having a skilled fight at the flat, while Watson is failing miserably at... checking out groceries. The following scene is poor silly woman Watson with her his silly little homemaking problems cannot understand the huge work and problems her husband Sherlock tackles when she's not looking. Watson is worried about having money to pay the necessities, Sherlock cannot be bothered to mind such pedestrian things.

This depiction of Watson as """"feminine"""" (derogatory) pops up here and then. He gets kidnapped three times for just being... careless (again, doctor, yes, but war veteran and human being that has been kidnapped before). It may not sound like A LOT, but when you consider the whole series is just 14 episodes, of which one is a short and another happens exclusively inside Sherlock's head... well...

Magnussen literally calls Watson Sherlock's damsel in distress in His Last Vow. His feelings upon discovering Sherlock is alive in The Empty Hearse are treated as over-reaction by Sherlock, Mary and the narrative. In general the whole Mary arc is filled with this sense that Mary and Sherlock relate to each other and understand each other and cooperate with each other on a level that Watson can't reach, and he's therefore relegated most of the time to a figure to be protected from both truth and evildoers, and then to give Rosie to, because man carrying a baby emasculating or something? (Sherlock's single interaction with Rosie is about his trying to reason with her, but he never touches or holds her, and she virtually disappears as a being once Mary dies).

This concept of Sherlock as idealized pop culture übermensch and Watson as a failure of a man takes the rest of the time a strange tone of aggressiveness, not only in the occasions in which Watson beats up Sherlock (A Scandal in Bohemia, TEH, The Lying Detective), but in smaller ways in Watson's pointed acting like he's not interested in the case or in explanations... and his dating women for apparently no other reason that to try and stick it to Sherlock (which makes it extra out of nowhere when he's not only so deeply affected by Sherlock's death, but that he tells to his grave "I was so alone and I owe you so much". Wait, what? You've spent most of your time being annoyed and feeling threatened by this guy).

Watson's relationships with women is also part of the weirdness of his characterization. He dates several of them one after the other in what seems an effort to show Sherlock that at least in this he's more competent than him; he doesn't seem to really care considering he mixes up their names and neglects them. However, the series also wants to make him also a very awkward and poor flirt with no standards (like trying to get the therapist in The Hounds of Baskerville, starting an emotional affair with a woman who just smiled at him on the bus, gets very mad at a tabloid calling him confirmed bachelor), and that the women that DO actually get into stable relationships with him think him beneath them one way or another (the series makes a pointed joke about how his girlfriend in The Great Game won't have sex with him or make him breakfast, Mary uses him first as a cover and then calls herself the best thing that happened to him as a joke while he's very seriously trying to propose to her). It rounds up again to that subtle "not man enough - feminine" undercurrent.

Then there's Watson's general incompetence. On my first draft of this answer I had written a list, episode by episode, of all the times Watson is being sent on wild goose chases, makes mistakes that no one with his background should, stumbles upon clues by sheer dumb luck, is generally useless, and his ideas are treated as extremely dumb, but it was very long and boring. So here are the ones I found to be the most notorious examples:

In TBB, he does not comment that left-handed people do in fact learn to shoot with their right hand (he is himself a left handed person who does that as established in ASIP); on that same episode he daftly stands by with a paint can and gets caught by the police and can't say anything to defend himself despite the high unlikeness of his being.... a street artist (his worrying about the charges is, again, framed as silly.)

He leaves the witness they need and who is in danger, alone, so he can go "help Sherlock" (which meant just... running out of the scene so she could get killed).

Watson's date is better than him at the brawl that happens at the circus somehow. He cannot tell a delivery guy from a ninja and gets kidnapped. He's scared witless because an old lady is pointing a gun at him (HE'S AN AFGHANISTAN VETERAN).

In TGG, Watson has kept the gun with which he killed the cabbie (against UP, and also, you know, incriminating evidence). Watson, a doctor whose CV specifies surgery, is jumpscared and upset by a head in the fridge.

In ASIB, he doesn't even know how to punch properly. The guy who is an ace with a gun in ASIP, is reduced and held at gunpoint like nothing here, and contributes nothing while badass Sherlock and Irene kick the goons asses. Falls for a dumb seduction trick because he's an idiot. Cannot tell apart real shock from Mrs Hudson just pretending.

In The Sign of the Three, Sherlock realizes Mary is pregnant before Watson, WHO IS A DOCTOR does.

These characterizations I have been talking about are very dominant through series 1 and 2, but then something curious happens on s3: without any warning or connection, the series starts acting like the characterizations of the UP have been the show's characterizations all along.

It begins with Sherlock's characterization; he's back and itching to see Watson, not realizing that he would have moved on in two years. Mycroft tries to warn him to break the news softly to him, but Sherlock doesn't understand; all he can think about is what a lark it will be to show up out of nowhere! There's no real meanness in it, just childish joy. This goes on through TsotT, with his anxieties about his speech, his difficulty to prepare and deliver it and following through the ceremonies, his surprise and emotion at being chosen as best man and called Watson's best friend, his promise to keep Mary safe and his efforts to save Watson in s4, and even his realization about Eurus' emotional needs in the series finale.

Not that the original ASIP characterization doesn't show up here and there again and again, through things like Sherlock's edgy comments about religion, his complete distraction and lack of attention at Rosie's baptism, his mysoginy and use of Jeaninne in HLV, etc.

Same happens with Watson. The narrative keeps doing its mockery thing, and will lay VERY THICK the whole "Watson is just an adrenaline junkie" with Mary's secret and how Watson married her because he's attracted to danger and that makes it all his fault somehow... it will also show Watson being bored by his job at the surgery. BUT the main storyline of the Sherlock-Watson relationship only makes sense through the UP characterization. It is, in fact, spelled out loud in TsotT: Sherlock solves puzzles, Watson saves lives. The back-cases of the episode show Watson being intelligent, competent, and helpful, specially as a doctor. Sherlock believes that he's been saved by Watson through their friendship. The case at the end is solved through both Watson's saving of lives and Sherlock's solving of puzzles (we are even shown that Watson has another friend! who is also a recluse!). Watson is at peace in his relationship with Harriet. We are even shown that Watson is secretly drinking more alcohol during his bachelor bender, to not disappoint Sherlock's calculations about his alcohol tolerance, and so "ruin" his fun and the work he put on it.

This goes on through HLV as well; Watson gets some PTSD flashbacks, then manages firmly and competently the "rescue" of Isaiah Whitley, and even shows some of that colder and a tad cruel side that was hinted in the UP. He has authority enough to make Mycroft leave when he tells him to. He's in on the plan to reveal Mary's past as a spy, and even later on is the one to suggest Sherlock puts a tracker on her before she drugs him and leaves, which shows both practicality and foresight. He even jokes with Lestrade about Sherlock being like a baby!

Even though The Abominable Bride only happens in Sherlock's mind and therefore doesn't really count towards Watson's characterization, it is worth noticing that in it Watson is so much more involved in monitoring and containing Sherlock's drug problem than he has proven to be till that point (sure, Watson got Molly to test him in HLV, but nothing came of it, and the treatment of the matter in TLD is even worse).

The only way to make some sense of The Six Thatchers and TLD, Watson-wise, is to play along with this idea of Watson as supremely practical, competent, and mature. His being rather checked out about Mary (he spends the whole morning (9 hours) of what seems to be one of his free days just proving with a balloon that Sherlock doesn't need him, while his wife is dealing with a very young baby, for example), and his emotional affair are to be understood not as part and parcel of the character we've seen through series 1 and 2, but as a moment of weakness of the character they say he is in s3.

It's not just the only way to understand not only his intense guilt, but the way the narrative tries to present the infidelity as "well, it is what it is, we are all human" down to Sherlock telling Watson that even Watson is human. That's not what Watson actually is, though, through most of the series. He's a callous, violent, horny idiot, which the narrative calls human, and that's the resolution of the opening scene of TLD about things being wrong and being able of calling them wrong. They are just what they are and we are all human.

The finale is all about Sherlock and Eurus, and so Watson's development ends here.

And the thing is, that I would have liked to see much more of the potential the characterizations in UP showed. That would have been an interesting dynamic. I think the casting of Martin Freeman for Watson was great, and that he elevates whatever he's in (yes, even The Hobbit movies), but was ultimately wasted, and for what?

Maybe it is that the BBC demanded those changes to bring in a lighter tone and comedic relief. Maybe they really wanted a sort of loose remix of House M.D. (which is what the Sherlock-Watson dynamic is most of the time in this show) instead of the Sherlock Holmes adaptation Mofftiss wanted to make. Maybe only after the show became wildly popular they were allowed to do what they wanted that way. But it was too little, too late, and mixed in with a steep decline of the quality of the writing of everything else.

Even within the limits of that generous reading of what happened, it is still stories they wrote and signed, where what could have been a compelling character with many interesting things to explore, from an actually accurate portrayal of PTSD (and not the "actually it is civilian life that is giving him PTSD because he's an adrenaline junkie, surprise!), and a war injury and physical disability being taken seriously, to his grounding role in Sherlock's life, a development of his deductive abilities, a more equal and complex relationship with Mary... we got an idiot whose function in the plot most of the time was narrative punchbag and high contrast to Sherlock's übermensch.

And that's such a pity.