|So, this is the thing: Euros has established herself as an "unreliable narrator": by lying, she has compromised her credibility to tell the truth. When did she lie, in The Lying Detective? She lied to Watson after their bus ride about him "having nice eyes," because she wasn't interested in him for his eyes, but because of his relationship to Sherlock. She lied the entire evening with Shelock because she pretended to be Faith Smith when she wasn't, but also that she was on the verge of suicide. Then she lies about being a therapist, having killed the real therapist who lived at the residence where she was meeting Watson for his sessions. Then she lies about Watson having mentioned the "secret Holmes brother" and then says that maybe Sherlock told her about him, when in fact, we know he didn't. So, all these lies, and disguises, compouds to create Euros as someone who has a version of reality which shifts like the wind (after which she is named) and who may not have a grip on reality at all. So, taking a step back, the episode is called The Lying Detective: how does Holmes lying differ from Euros? Afterall, we can say that both Holmes and Euros incorporate "entrapment" to get what they want from someone else (Euros gets it from both Holmes and Watson, while Holmes gets it from Culverton Smith and Watson [intenionally inducing Holmes' drug addiction so Watson will save Holmes]); but first, we need to estalish the "lie" in The Lying Detective. On one hand, like Euros, Holmes puts on an act--wears a disguise--as a drug addict--to get Watson's attention just as Euros wears disguises; at this point, however, and I may change my mind after further reflection, I think the real "lie" of Sherlock revolves around what he tells Culverton Smith in the hospital room: "I want to die." I think that is the "lie" our attention is meant to be drawn to; why? Well, there is the "why" of why that is the lie, and then there is the "why" of why Sherlock doesn't want to die. First, while Sherlock may have bouts of genuine misery, Sherlock Holmes likes himself too much to want to die; although Holmes feels genuine guilt over Mary's death (partly because of his provoking Vivian by his unnecessary running of her into the ground, causing her to pull the trigger, and then because Mary sacrifices herself to save Sherlock) Holmes--as he tells Euros when she visits him disguised as Faith Smith--our lives are not our own, they have a value and our death affects others. When Culverton Smith asks Sherlock about dying, Smith assumes that Holmes' drug binge is a kind of inadvertent suicide, and Holmes really does want to die. Why is this the "lie" our attention is meant to be drawn to in the narrative? Well, this isn't the first time, is it, that a villain has tried to get Sherlock to die, right? Think of Moriarty trying to get Sherlock to jump to his death atop tha building, because this is a very close proximation to that. We also have the scene with Faith when Sherlock spirals out of control and nearly jumps off the bridge, then looks behind him, and "Faith" has disappeared, then Sherlock doesn't remember the police bringing him back to Baker Street. It's possible that at that point, Sherlock unconsciously realized that "Faith" was really Euros, and Euros' hatred of Sherlock is what prompoted Sherlock to want to kill himself, because killing Sherlock is what Euros wants to do. I think it's also possible that, as Mrs. Hudson points out, when Sherlock has something on his mind, he "stabs" it or shoots at it, because I think that's probably what Euros did to him at soime point. So, from The Abominable Bride, we know how deeply Sherlock can and will go into the mind of Sherlock Holmes, and because Euros has obviously been playing mind games with Holmes, Watson and now the audience, we shouldn't be surprised by anything we learn from Euros, but also not necessarily believe anything we learn from Euros.|
There's an east wind coming all the same, such a wind as never blew on England yet. It will be cold and bitter, Watson, and a good many of us may wither before its blast. But it's God's own wind none the less and a cleaner, better, stronger land will lie in the sunshine when the storm has cleared.
Euros is, of course, that "east wind" that was hiding in plain sight the whole time. I will write more on this fabulous episode, but I want you to be thinking of something: is Euros THE other "brother" which the series has been leading us to believe they are going to introduce (Euros could easily be a transgendered twin, I mean, why not? and the fact that this is Sherlock's birthday in the episode means something or someone is being born, and Euros is certainly being born) or is Euros actually Sherrinford but still wearing a disguise even when all the "disguises" have been removed? In The Abominable Bride, Sherlock emphatically insisted "It's never twins," but, could it in fact, be twins in this case? Euros and Sherrinford could be twins, Euros and Sherlock could be twins, or, Euros could be Mycroft's twin, or it could be something else entirely,...
Someone who is lonely and has nothing else to do, and isn't a part of the Holmes family in any way (rather like the "Holmes" Culverton mentions who ran the hotel just so he could kill people, but Sherlock says they aren't related), rather, someone who wants to belong in some way, be a part of a case just to be a part of something. What's the point of doing an exercise like this? It expands our horizons and makes us engage with the art ever more deeply, which causes us to engage with ourselves evermore deeply. And speaking of looking into ourselves ever more deeply, we must be aware that Sherlock has been doing the same thing, which is where Euros may gave come, from within Holmes,... how can we say that? Shouldn't Sherlock Holmes have noticed when he went into the therapist's house, that the therapist was the same woman "Faith" who he had spent an entire evening with? Like by her earlobes, or nose? There is a subconscious reason Sherlock blocked that out, or refused to acknowledge it.
Ear Your Art Out,
The Fine Art Diner