Queer Coding and Baiting 1510

Alrighty guys welcome to probably my longest post ever. In this post I will be detailing how BBC's Sherlock uses queer coding and baiting on many of its characters, but namely John and Sherlock. I will also breifly touch upon how this is used as a marketing strategy and the negative effects it has on the LGBTQ+ community. I will only use examples from the two episodes that we had to watch for class, but might reference other episodes, so some spoilers lie ahead. Queer coding will be showin in pink and queerbaiting will be shown in blue. 

First, queer coding and queerbaiting are two different entities, but usually are seen together. Queer coding is when characters are given traits that are normally reserved for members of the LGBTQ+ community. Queer coding is a way to subtly make a character "appear" gay without having to explicitly state the character's sexual orientation. Queerbaiting goes a step further and often is used to imply that two characters are in a same-sex relationship, either through the use of dialogue or editing and presentation. This is often done by people in control of the narrative, such as writers or directors.

Starting with episode one of series two, "A Scandal In Belgravia" this episode features Sherlock's love interest... John Watson! Just kidding, or am I? This episode begins by closing the cliff hanger from series one, Sherlock's standoff with Moriarty in the pool. The next scene implicates two females involed intimately. As the show carries on there are small bits here and there that many have intreprted as queer coding and baiting. The first can be seen when Sherlock is skyping with John from his flat. Sherlock displeased with how low John is holding the laptop says, "Up a bit! I’m not talking from down here!" intrepret that as you wish. 
Next Sherlock is seated, in nothing but a bed sheet, and John joining him on the couch checks to see if his flat mate is wearing clothing. 
Later on in the same scene, John asks Sherlock what they are doing at Buckingham Palace and questions if they are there to speak to the Queen. Just then, Sherlock's brother Mycroft walks in and Sherlocks replies with "Oh, apparently yes." Here, the word queen is used to describe a gay man, in this case negatively, and towards Mycroft. Who, fun fact, is portrayed by openly gay writer and creator of Sherlock, Mark Gatiss. 
When trying on outfits to meet Sherlock in, Irene has a short cocktail dress on. Kate, Irene's "assisstant" (read: partner) says "Works for me" to which Irene replies "everything works on you." 
When discussing Sherlock's wound from John punching him Irene states, "Oh, and somebody loves you. Why, if I had to punch that face, I’d avoid your nose and teeth too." She obviously knows that the person with Sherlock, John, was the one who punched him and is implying that John loves Sherlock from how he avoided major damage. 
Mycroft instructs John to stay with Sherlock to make sure he doesn't start using again and Jeanette, John's girlfriend quips that John is a great boyfriend and that Sherlock is a very lucky man. 
John asks Mrs. Hudson if Sherlock ever had any girlfriend, boyfriend, any relationship. Worrying for his (Sherlock's) health. (This is also an easter egg to the candle light dinner from the pilot episode). 
Irene confronts John and asks for her phone back, John is visibly upset that she is alive and causing Sherlock grief. 
     IRENE: Does that make me special? 
     JOHN: ... I don’t know. Maybe. 
     IRENE: Are you jealous? 
     JOHN: We’re not a couple. 
     IRENE: Yes you are.
John then says, "for the record – if anyone out there still cares, I’m not actually gay." to which Irene replies, "Well, I am. Look at us both." Meaning that both of them like women, yet both have fallen for Sherlock. 
(2.1 has more content than 2.2)

In Series two episode two, "The Hounds of Baskerville", it opens with a bit of banter from the two "Baker Street Boys" (series four reference). Sherlock says, "John I need some. Get me some" and then the camera switches to John sitting in his chair. Again, take this as you will, but if you're looking for queer coding and baiting the smallest things jump out. 
John checks in to the hotel and the man workng behind the counter apologizes for not being able to provide a double room (meaning a large bed like a full or a queen) and John realizes this man thinks he and Sherlock are together.
 Soon after we see the man's partner (inferred by the use of possessive adjectives) and they ask John, "Is yours a snorer?" yours meaning Sherlock.
When John is out "chatting up" Henry's therapist Dr. Frankland came over and referred to John as Sherlock's "live-in PA". 

Overall, most of the queerbaiting and coding is used on John and Sherlock. Other characters, namely those who seem to be villians, like Moriarty, Irene, Mycroft, and a certain person from series four, also have been products of queer coding. Moriarty pretends to be gay and talks about his male guards stamina, Irene and Mycroft were already discusses, and the person from series four discusses an event with Sherlock.

The use of queer coding on villains is not a new development (think Scar from Lion King, HIM from Powerpuff Girls, and Norman Bates from Psycho). This use of LGBTQ+ stereotypes in villains only emphasizes a society's mistrust and dislike of the Community. Growing up with these images, people learn that having these traits makes you "bad". Also the use of queerbaiting is often used as a way to gain an audicane from the LGBTQ+ Community. By setting up, or at least beginning to, shows "promise" for gay representation, but it never comes to fruition and is the cinematic equal of leading someone one. 

Tldr: The writers and creators of Sherlock know what they're doing: gaining an audiance. Most main characters that are often talked about or seen repeatedly are queer coded or baited. Although it can be harmful, it also can be seen as fun and often is the source for fan material.