
Though
he may flourish among his brothers,
the east wind, the wind of the Lord, shall
come,
rising from the wilderness,
and
his fountain shall dry up;
his spring shall be parched;
it
shall strip his treasury
of every precious thing.
~Hosea
13:15 (Sorry, I couldn’t resist.)
In other words, don't mess with the East Wind. And speaking of brothers, what in the world does he mean when he says "the other one"?
After the highs of the first episode, and the lows of the second, I really wasn't sure how to approach His Last Vow. I shouldn't have worried. It's a really tightly scripted episode, with impeccable pacing and a bundle of surprises, if somewhat lacking in dramatic tension compared to last season's finale. There shall be spoilers.
Sherlock
has always, really, been about three things: power, love, and truth—and how
they interrelate. His Last Vow brings all three into play, illustrating the show's vision and how it has changed. Must love obscure the truth? Is information the only form of power? Is truth naturally hostile to love?
Kaitlyn Elisabet Bonsell observes in a Breakpoint article that in A Scandal in
Belgravia, Sherlock despises Irene’s use of sex for power. He scoffs, “you cater to the whims of the pathetic and take your
clothes off to make an impression. Stop boring me and think. It's the new sexy.” According to Sherlock, mental prowess is a much more effective form of influence, and Irene's use of sexual attraction to shock is more than just immature, but boring. (Thoroughly agree—Miley Cyrus is such a reactionary.)