I mean like everyone realizes that Sherlock could have removed the bomb vest without getting on his knees right? And that they didn’t have to film it from this angle and Martin Freeman didn’t have to make that getting-a-blowjob face? I mean he’s really quite a good actor, like if he doesn’t want to look like he’s getting a bj he can make AT LEAST three other faces, he has awards and everything~
When I first saw it, I did a double-take, haha. And the thing is, this doesn’t ‘just happen’, I think, even in ‘queer-baiting’ shows, as far as I know. Like, what people talk about when they talk about subtext (usually), and this: they are actually two different things, I think. And yes, partly it’s the fact there are simply so many of these moments. But the show is near-constantly trying to prime the viewers to have gay sex, love and attraction on their minds. This isn’t about what’s ‘really’ going on in this scene, exactly: it’s about getting us, the viewers, to think a certain way, to read into it. In a way, it’s actually almost the opposite of queer coding, which I’ve talked about in the context of Sherlock before: this isn’t precisely meant to fly under regular viewers’ radar, is it? Quite the opposite, in fact.
They’re actually apparently trying to make ordinary viewers look at this life-or-death situation and see sex. And it’s not even subtle, really. Because there’s actually no great reason for Martin Freeman to make that ‘blowjob face’, where he looks something to the side of simply ‘relieved’. There’s actually lots of shots like this in TSoT in particular, where there’s no reason for Sherlock to stare at the off-duty soldiers, and no reason for his ‘vomit’ to look like come, and so on. I guess I’m saying this isn’t even particularly subliminal: this is direct visual coding of romantic desire. This pose isn’t super subtle, or meant to be missed; dismissed, yes. Missed, no.
It’s actually about as embarrassingly obvious as a middle-school sex joke, really.