Ambiguities notwithstanding, the presented explanations as to how Sherlock faked his death all had one thing in common: the intention to fool John. It’s all about his perspective – where he’s standing, what he can see, and so on and so forth. It’s understandable in some ways, because in that scene John is the audience surrogate; indeed, there’s a tradition dating back to the start of Watson acting in that role. Convincing John of Sherlock’s death is, in effect, necessary to demonstrate it to the audience. But, here’s the thing: in an instance of dramatic irony, it’s revealed to the audience that Sherlock is alive. Most would have been expecting it, of course, but the confirmation shifts our perspective away from John’s – suddenly, we become a confidante. We’re in on it. John isn’t.
The Reichenbach Fall indicates a need to fool Moriarty’s assassins; The Empty Hearse presents instead an attempt to fool John, with no explanation as to why. The ending of The Reichenbach Fall becomes less about Sherlock outwitting Moriarty against the clock, and more about Sherlock pulling a cruel and elaborate prank on his best and only friend.
Finally drawing a close to my series of Sherlock articles (at least until Sunday), here’s one that expands on some observations I made a few years ago.
It’s weird, I guess; I feel like pivoting away from the technicalities to focus on the emotional aspect was the most sensible – indeed, even essential – choice to make. But I don’t feel like the emotional aspect landed, given the above; I suspect that’s part of why so many people struggled on the technicalities of it. (Though it didn’t help that the technicalities were a bit ridiculous anyway.)