#sherlock the final problem

[unreformedcarrots]

[dangcrabbit]

Pre-Return Holmes musing to an unwitting audience

Meanwhile Watson:

[moroniccats]

Anyone else ever think about how the original ending of Sherlock Holmes was intended to be him dying, with Watson morning him forever?

ACD really dropped the original Angst Hurt No Comfort, and then got bullied into adding a happy ending.

[therealsaintscully]

The year is 2025, and here I am, still very troubled about BBC Sherlock. Now, it's been a while since I wrote any Sherlock meta, but there's something that's been bugging me, and I’d love to get people’s input and thoughts.

I'm a screenwriter—not a professional one, but an autodidact. I haven’t had anything produced, but I have written several original screenplays. One of the most basic things you learn as a writer in general, and especially in screenwriting, is the concept of the character arc. It’s the art of starting a character off as one thing, taking them through a process of deconstruction or challenge, and letting them emerge as something different.

An exercise I enjoy is watching films or TV shows and analysing a character’s arc. I try to spot hints of how a character will change by the end of an episode, a season, or the entire series. That’s part of why I particularly love Michael Schur’s shows—Parks and Recreation, The Office, Brooklyn Nine-Nine. In the Michael Schur universe, character arcs are blatantly laid out for you in the pilot episode. There’s absolutely no need to philosophize or guess: the characters often state it themselves, or it’s clearly expressed through others.

Take, for example, Michael Scott.

In the Office pilot, he’s genuinely a terrible boss and a trashcan of a person. But we’re immediately shown his arc via one simple prop: a coffee mug. “World’s Best Boss.” That’s his journey—to become that boss, if not in the world, then at least in Dunder Mifflin.

Or take Jake Peralta. In B99’s pilot, Terry introduces the squad to Captain Holt with:

“Jacob Peralta is my best detective — he likes putting away bad guys, and he loves solving puzzles. The only puzzle he hasn’t solved… is how to grow up.”

From that alone, you know where Jake is headed. By the end of the show, he’ll still be the squad’s best detective, but he’ll also be a grown-up: a dad, a partner, someone who takes his job seriously and earns the respect of his captain.

In the Parks and Rec original pilot script, Leslie outright declares that she’ll be America’s first female president. In the aired pilot, the message is softened a bit when Leslie says:

“You know, government isn’t just a boy’s club anymore. Women are everywhere. It’s a great time to be a woman in politics. Hillary Clinton, Sarah Palin, me.”

There it is: Leslie’s arc will involve her rising through the boys’ club of American politics and becoming a truly great public servant (and maybe—even if it’s never clearly stated—the first female president).

So now that I’ve set the scene a bit—understanding how a character arc is seeded in a pilot—let’s talk about Sherlock.

What are we told about John and Sherlock in the pilot that sets up their character arcs?

Let’s start with Sherlock, because that one is spoon-fed to the audience—by none other than Lestrade. In response to John’s question, “Why do you put up with him?”, Lestrade says:

“Because Sherlock Holmes is a great man. And I think, one day, if we’re very, very lucky, he might even be a good one.”

That’s it. That’s Sherlock’s arc. The writers are telling us outright: here’s a brilliant but emotionally disconnected man. And the journey ahead of him isn’t about intellect, but about goodness. About connection, humanity, compassion. Becoming not just great, but good. And, if I might add a bit of Johnlock, not just to anyone—but through John, with John, and ultimately because of John.

Now, John’s arc is a little less obvious in my opinion, though just as important—and it’s given to us by Mycroft, who says:

“You’re not haunted by the war, Dr. Watson—you miss it.”

To me, this says: here is a traumatized soldier who never fully came back from war. He’s unmoored, disconnected, half-alive. "Nothing ever happens to me." And the arc we should expect? A man who, over time, things happen to him and he finds peace. Who finds meaning in his civilian life—back in London, in friendship, in purpose, in (perhaps) love. Who, by the end of the series, no longer misses the war.

That’s the setup. That’s what we were promised. Or at the very least, that's what I feel I was promised.

Only… whatever I feel was promised never actually happened.

In fact, Sherlock ends up delivering the complete opposite. In Seasons 3 and 4, the show leans into Sherlock as a mythic, near-supernatural figure—the “adult who never was a child.” This directly contradicts the idea of humanising him. The sudden introduction of Eurus shifts the focus from internal growth to external spectacle. His evolution becomes a reaction to trauma, not a conscious transformation toward goodness.

By the end of The Lying Detective, Sherlock is still fundamentally isolated and emotionally unavailable. Despite supposedly learning to “connect,” he doesn’t share emotionally in any meaningful way—not with John, not with Eurus, not with Molly. The “I love you” scene is a puzzle to be solved, not a moment of genuine vulnerability. John and Sherlock’s confrontation at the end of TLD achieves absolutely nothing in terms of their openness or intimacy.

Sherlock's arc—of becoming a good man—is never achieved. Now, we can argue about that, because Sherlock is a softie at times. He is kind. And don’t get me wrong—when Michael Scott leaves Dunder Mifflin, he’s by no means a perfect boss. But he’s loved by Pam, he’s missed by Jim, and the Dunder Mifflin team has learned to respect him in their own way.

I know some of you are itching to shout that Sherlock's arc won't be complete without S5 and in theory, I agree! But! Lest we forget, Lestrade’s “prophecy” (supposedly) comes full circle in The Final Problem:

"No, he’s better than that. He’s a good one."

This, supposedly, is the great moment of The Payoff. Here stands Sherlock, A Good Man™.

Which… always makes me scratch my head.

Is he, Lestrade? Really? What is it, exactly, in those last few days that convinces you of that? What moment between The Six Thatchers and The Final Problem gives you that impression?

Nothing. Really—nothing. This, for me, is absolutely zero character arc payoff.

Now, what about John—who was supposed to come back from the war, or at most, get his adrenaline kicks chasing criminals with Sherlock through the streets of London?

Mary’s death completely hijacks John's growth as a character. Rather than showing John finding stability in his marriage and family (or with Sherlock, in whatever shape that takes), the show strips it all away. And worse, it distances him from Sherlock once more—throwing him into another spiral of guilt and rage, effectively rebooting his trauma rather than resolving it.

The finale gives John no closure. We don’t know where John is emotionally by the end of The Final Problem. Is he at peace? Are we supposed to believe that a happy montage fixes everything? Does he still crave danger? Does he still feel violent impulses toward Sherlock?

I can’t even begin to think when or how Mycroft’s seed of John’s arc—“you miss the war”—comes full circle in The Final Problem. Unlike Lestrade’s line about Sherlock, there’s nothing that brings that theme to any kind of resolution. It’s as though Moftiss forgot to give John a conclusion altogether.

I’ve sometimes wondered if Sherlock’s words to John in TLD—“We might all just be human”—were meant to gesture at John’s arc. But… why would it?

John never struggled to understand that he was human. That wasn’t his arc. That wasn’t his flaw. He knew he was human and he always craved for that humanity from Sherlock. So what, then, was that line supposed to resolve?

I can play devil's advocate here. Character arcs can be negative. A character doesn't always have to have a happy ending, and had Moftiss boldly done that, I would have appreciated it. But they hadn't- they give us a weird ass montage with John and Sherlock happily giggling at Rosie. It's just feels like there's absolutely no conclusion for John, whether negative or positive.

Adding insult to injury, Mary’s 'speech' during the final montage is actually dismissive of their "growth":

“There are two men sitting arguing in a scruffy flat. Like they’ve always been there, and always will.”

Which completely negates the idea that they’ve changed. At that point, they’re not like they’ve always been. John's quite possibly worse than when we met him.

“The best and wisest men I have ever known.”

Again—what’s with the John erasure? Let’s say, for the sake of argument, Sherlock is better now—what makes him wise? And John’s arc was never about becoming wise, so what does that even mean?

“My Baker Street boys.”

Are they? Are they still the Baker Street boys (I hate that nickname)? We’re never told if John and Rosie move back in. In fact, in a Q&A Moftiss declare John does not return to Baker Street.

And that’s just it, isn’t it?

The Final Problem finale doesn’t fail because it was mysterious or ambiguous or hilariously bad or tragic. It fails because it abandons the emotional contract it made with its viewers in the very first episode. It forgets the arcs it promised, the healing it hinted at, the people these characters were meant to become.

We didn't need a happy ending. But we did need a real one.

[mustfindcreativeusername]

Sometimes I remember he died, he was dead for real, but SO MANY people loved him SO MUCH that he was brought back to life and got to have so many more adventures and get old and eventually retire and yes it's a fictional character but sometimes I think about that and I have to lie down and have a cry about it. We love you Sherlock Holmes

[221bnassau]

VIOLENTLY CONVULSING

[rafflesbunny]

you ever think of the months after the fall? the hollow darkness john feels for days on end. suicidal, but not quite. the man who pulled him out of that hole lies dead at the bottom of a waterfall, and all watson can do is wish he had caught him. the man who'd taught you life had colours that were not the red of the sands and blood. the man who had showed you the wonders of every nook and cranny. the man who had revealed life's very own secrets that one would miss to you. how does it feel to watch the man who pulled you out of your own spiral fall?

[allallestodo]

THE ADVENTURES OF SHERLOCK HOLMES

2.06 The Final Problem

[poppypirate]

I'm listening to lady carfax part 3 again, and some follow-up ruminating...

1. The argument is INCREDIBLE in terms of character revelations and development, though I tear up every time I think about it. I feel like this was the healthiest representation of how hard being Sherlock is for Sherlock, and the fact that Watson is always there, constantly dealing with it, while trying to be true to himself

3. Sherlock's rant about addiction definitely seems to colour his frustration at the case, but he isn't ranting ABOUT addiction - he's mad at the way Penny's creditors and lenders were, in a way, exploiting her very harmful vulnerability for their gain. And that is a very interesting new dimension, because I wonder if Sherlock is speaking from experience and has been taken advantage of before? It's very typical of Holmes to have a soft spot for the "weak," but still, I'm just very curious about Sherlock's life before he met John (and about his relationship with Lestrade!) and I wonder if this has anything to do with it

4. The ups and downs in poor John's character growth are killing me because it keeps making me dread that the Final Problem is drawing closer, and I'd much rather pretend that particular elephant in the room didn't exist. Because like, John's silliness was getting to me till the last episode, but at least he was happier and more secure than ever. But now, with the arguments reigniting his insecurities, and the reference to people who loved him always dying in the past, the reinforcement that Sherlock really loves loves him, and then that dAMN VOICENOTE... JUST KILL ME WONT YOU

5. Is that Indian classical fusion music I hear in the background at the Egypt cafe :))

6. I listened to them making up like five times in a row and I'm sobbing dont ask whats wrong with me I don't know

7. John showing a bit of his bamf side when they're confronting Peters is giving me life. Also Sherlock has such a good criminal-threatening voice jesus (its hot im sorry)

8. The voicenote made me cry again. Also idk if im reading too much into this, but the final sound is that of a door closing and i dont like it. I just do not want John having any more voicenotes from people he loves wasnt sign of four enough

[vargdottern]

THEY REPOSTED????

(original video by liyy..ache on tiktok)

[carneliancorax]

The incompatible dates in the Sherlock Holmes stories make a lot more sense when you remember the fact that Watson only started writing up The Adventures for publication a few months after Holmes' death, an "event which has created a void in [his] life which the lapse of two years has done little to fill." If he is still so grief-stricken after two years, no wonder he misremembered or mistyped a few 8s and 9s when writing about Holmes only a few months after Reichenbach.

[klarisintheclouds]

Arthur Conan Doyle in 1893:

I have KILLED Sherlock holmes. I have ended him. He is finished. Gone. Poof. I shall no longer write these frivolous and uncultured detective stories of this strange and fascinating imp-like autistic cocaine smoking man. Never.

Also Doyle:

yk what...nvm.

[tremendously-crazy]

I've been thinking a lot about the final problem lately. That was supposed to be the end. Sherlock Holmes was DEAD. He was actually dead. But then he got raised from the dead. I am eternally grateful to crazy Victorians for telling Holmes "nuh uh" when he decided to hurl himself off a waterfall.

[i-dont-talk-for-days-on-end]

I think it's terrible how Victorian readers probably lay in bed, happily thinking about what their blorbo was up to rn, and then in 1893 they opened the Strand Magazine to "The Final Problem" only to discover that Mr Sherlock Holmes had actually already died in 1891. What would you do

[221bnassau]

Lestrade's face when Sherlock says his name correctly for the first time in the series... screaming and crying.

[tsukihasnolife]