Hello, Tailor

fy-moriartysherlock:

stelmarias:

You were not the threat you had been made out to be

#natalie dormer’s goddamn physicality with all its aggression and performative lioness grace     #jfc     #but also how clearly you can see irene adler /was/ moriarty deweaponized; irene adler was still the same woman     #the same fearsome intellect; the same sharpened knife wit and talent; just blurred instead of deliberately brought out     #and put into performance     #irene adler was not a lie; was never a lie; you can see it right here; in how moriarty is so clearly the same woman     #just … stripped bare of sociability or obfuscation     #she is better than sherlock for the same reason she’s better than irene; her singular bullet-streamlined sense of purpose     #to her own will to power; where irene and sherlock have or had no greater overwhelming structural goal with zero moral compunctions     #had nothing to weaponize for     #she does; and is; a living breathing knife in the dark; because of the work she does; the work she has created and taken upon herself     #(but sherlock was her blindspot like she was his; and that’s how she got caught) via okayophelia

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

natalie dormer is the first onscreen irene adler i have ever loved. SHE!! IS!! PERFECTION!!

(via calvinahobbes)

almostperfectalibi:

Visual clues in the first Irene/Sherlock scene as to their inevitable end— spoilers for “The Woman” and “The Heroine,” Elementary 1x23 and 1x24:

The painting Irene is restoring is a Rubens, The Incredulity of St Thomas: Now Thomas (also known as Didymus), one of the Twelve, was not with the disciples when Jesus came. So the other disciples told him, “We have seen the Lord!” But he said to them, “Unless I see the nail marks in his hands and put my finger where the nails were, and put my hand into his side, I will not believe.” Doubting Thomas was a skeptic, he didn’t believe what he was told— he had to touch Jesus’ wounds before he believed in his resurrection. So we have an obvious resurrection reference here, and we know there will be questions and doubts. Only the wounds can be the proof. Sherlock doesn’t believe things unless he can see them, touch them, know them. So we know Irene is going to die and then miraculously come back, but terribly wounded and in a way that deeply touches and affects Sherlock.

The second painting is Toulouse-Lautrec, Rousse, La Toilette, or Redhead Bathing.

This is an intimate picture, a woman getting out of the bath— another resurrection symbol? And it’s a trusting, vulnerable pose— seated, back turned, half dressed. This is what Irene offers Sherlock: intimacy. This is the temptation she dangles in front of him: run away with me, we’ll be anonymous, faceless. We can wash away the past. We can be clean again, together.

But this model isn’t some imagined ideal. She’s not a wisp or some collection of perfect curves. We can see her bones and joints. She’s solid, she’s real.

(Toulouse-Lautrec often painted prostitutes, so perhaps this is a reference to Irene Adler’s original Arthur Conan Doyle characterization as a fallen/kept woman, or perhaps it echoes Elementary!Sherlock’s penchant for paid company, or his comment in the last episode that Moriarty is a pimp and assassins are his girls.)

Irene is imaginary. She can’t get Sherlock to go away with her, because she isn’t real— she’s a fiction inhabiting Moriarty’s body. When Moriarty gets out of the bath, her naked back betrays her. Sherlock doubts. He touches her, finds the wound where one of the stars in her constellation was removed, and he gets the truth.

Very, very clever, Elementary guys.

Also, I noticed a tripod in the background of the big revelation scene where Moriarty finally comes clean. SURELY placed there on purpose, right? (It’s right behind Sherlock throughout the scene.)

(via calvinahobbes)

funkyfine:

#SHINE BRIGHT LIKE JOAN WATSON

(Source: ilahey, via waxjism)

She was an exquisite painter. She made her living restoring Renaissance paintings for art museums. She travelled extensively because of her work. She was…highly intelligent, optimistic about the human condition. Usually consider it a sign of stupidity but with Irene it seemed…almost convincing. She was, to me, The Woman. To me, she preclipsed and predominated the whole of her gender. The only one I ever—

AGONY

(Source: maisewilliams, via apriki)

fullmooning:

Joan Watson: asking the right questions