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Anonymous asked: I wouldn't say Moffat is sexist 100% of the time every time. He does really well for a male writer. However when he gets to a really strong emotion for a female character, he sometimes trips up and falls flat on his face (Amy has some inauthenticity). Also, in the Sherlock Holmes series, Adler bests Holmes. Moffat denied Irene that moment in ASiB. He made her subordinate to the Holmes brothers when the point of her character is she's Sherlock's equal, maybe better than equal, despite being femal

With Irene and Sherlock, it was seemingly just a battle of the wits. But was that it? Just a battle of wits? Sherlock stuck to the unfeeling side; he truly showed that he would not let his heart rule his head.

Irene may have lost that game, yes, but I think Sherlock envies Irene, especially at the end of Scandal.

He obviously admires her and respects her intellect, but there’s something deeper there. I think it’s because she did beat him in the grand scheme of things. She has that ability to smother her intellect and let her heart take control, whereas Sherlock can’t.

So who is the real winner/loser?

Filed under Anonymous ask bbcsherlockftw /rambling Sherlock Irene Adler

258 notes

bakerstreetbabes:


—————
[Listen]  [Transcript]

In Sherlock she was the dominatrix that brought a nation to its knees. A far cry from the Adler of canon, but with the same essence of adventure and mischief. Lara Pulver’s Irene turned heads and caused controversy, and we feel that’s just what Adler of the canon would have wanted. Lara Pulver chats with Curly, Lyndsay, Maria, and Jenn about her turn as The Woman. We geek out about McQueen and  sexual identity, and reveal the secret to beating Benedict Cumberbatch at word games.


Lyndsay & Curly do a brief introduction which has Star Trek casting spoilers for Benedict, so if you want to avoid that, skip to 10 minutes in.

A full transcript of this episode is [HERE]

Make sure you watch Sherlock on PBS Masterpiece: http://www.pbs.org/wgbh/masterpiece/sherlock/ And follow along with our live tweets during the show! Next up is The Hounds of Baskerville!

You can follow Lara on twitter at @larapulver

Filed under Sherlock BBC Sherlock Lara Pulver Irene Adler Sherlock Holmes A scandal in Bohemia A Scandal In Belgravia SherlockPBS Alexander McQueen wearsherlock Sherlockology Star Trek Benedict Cumberbatch Martin Freeman Baker Street Babes PBS Masterpiece

178 notes

bakerstreetbabes:

So we have good news and bad news.

Bad news is that the Amanda Abbington interview will have to wait a little while longer. She’s very very busy at the moment and hasn’t gotten the chance to approve it. But never fear, it will come soon!

The good news is, we got another fantastic Sherlock woman to interview! The delightful Lara Pulver, aka The Woman! Editing it now so it should be out tomorrow! Join us as we talk McQueen, feminism, and how to beat Benedict Cumberbatch at word games.

(via curlyfoureyes)

Filed under Lara Pulver Sherlock BBC Sherlock A Scandal In Belgravia BELG Alexander McQueen Benedict Cumberbatch Irene Adler A Scandal In Bohemia Baker Street Babes Amanda Abbington

352 notes

petrichoriousparalian: “Initially, he wanted to be a pirate.” John and Mycroft aren’t alone together very often. Before this, the only other scene we have of them is John’s semi-abduction in the warehouse. After, we have John chewing Mycroft out at the Diogenes. That’s it. The fact is, this is the only mutual session the two of them have. The other times, one of them is having an experience unwillingly. They are on completely even terms, in a neutral setting. Like always, Sherlock is the undeniable force that brings them together.  Here, Mycroft provides us the only information that we have on Sherlock’s childhood. And, surprisingly, that information is relatively “normal.” Plenty of kids want to be pirates when they grow up: it’s just hard to imagine Sherlock being one of them. Sherlock and Mycroft aren’t the emotive types. Neither is John, either, really, but Mycroft and Sherlock are perhaps even more singularly shut out than other people. That Mycroft recalls an early memory with such tenderness and even regret in his voice, like he somehow had some part in squashing Sherlock’s imaginative development, lets us see just how deeply he loves his brother without him having to say too much.  The fact that John can sympathize with both Sherlock and Mycroft is fundamental. One the one hand, he and Sherlock are both the younger siblings. From what we can tell, they both dealt with the cerebral and physical teasing of the older ones. John can also sympathize with Mycroft, though, because he knows what it is to have to care for someone who can’t care for themselves, even from a time when he was perhaps too young to grasp what everything meant.  My whole headcanon behind this scene is that Mycroft was a studious and serious child who never really learned how to relax and didn’t understand his brother when he was little. Flights of fancy were something he’d never entertained for himself, and so he figured there must be something wrong with Sherlock to have such delusions. Now, as an adult, realizing that neither of them are “normal,” that they both have deep-seated issues they may never be able to address, he feels like he played some part in robbing Sherlock of that innocence. That same innocence we see shadowed in the attachment he develops for Irene. It is not that Sherlock does not recognize the implications there, he just chooses to ignore them in favor of creating a situation in which he is comfortable.  Just as he doesn’t fail to recognize the implications of his relationship with John, but chooses to ignore them for the same reason. John makes him comfortable, and so do Mycroft and Irene. The brothers don’t hate each other as much as they want others to believe.  Sherlock knows that he has a safe space with the three of them. They’re his protection: and, as John makes clear, the connection between protection and friendship is paramount.  With Irene’s “death,” Mycroft is crushed that Sherlock will have lost a friend, which is why he passes the torch to John. Mycroft doesn’t know how to handle the situation; he’s afraid that being the bearer of ill news will only further Sherlock’s supposed resentment for him. The whole purpose of exposing that information to John is really to get him to sympathize, to say “You know what it’s like to care for someone as incorrigible as he is, help me, please.” What he succeeds in doing is to provide John with the understanding that he loves Sherlock too much to see him in a state. Mycroft’s dealt with the addictions, the obsessions, the ever-pressing need to keep his brother entertained for fear of seeing him slipping again. He knows how Sherlock was before John came along; John is the anchor, and that is why Mycroft entrusts him with passing along the information about Irene’s death.  Mycroft has been inextricably tied to his brother for every second he’s been alive. And in his head, sometimes, instead of seeing the manic pile of lank in front of him, he sees a little boy with a paper hat, hiding under the dinner table and whacking him in the foot with a cardboard tube. Mycroft may scoff at sentiment, but he still keeps some small things to himself.  

petrichoriousparalian:

“Initially, he wanted to be a pirate.”


John and Mycroft aren’t alone together very often. Before this, the only other scene we have of them is John’s semi-abduction in the warehouse. After, we have John chewing Mycroft out at the Diogenes. That’s it.

The fact is, this is the only mutual session the two of them have. The other times, one of them is having an experience unwillingly. They are on completely even terms, in a neutral setting. Like always, Sherlock is the undeniable force that brings them together. 

Here, Mycroft provides us the only information that we have on Sherlock’s childhood. And, surprisingly, that information is relatively “normal.” Plenty of kids want to be pirates when they grow up: it’s just hard to imagine Sherlock being one of them.

Sherlock and Mycroft aren’t the emotive types. Neither is John, either, really, but Mycroft and Sherlock are perhaps even more singularly shut out than other people. That Mycroft recalls an early memory with such tenderness and even regret in his voice, like he somehow had some part in squashing Sherlock’s imaginative development, lets us see just how deeply he loves his brother without him having to say too much. 

The fact that John can sympathize with both Sherlock and Mycroft is fundamental. One the one hand, he and Sherlock are both the younger siblings. From what we can tell, they both dealt with the cerebral and physical teasing of the older ones. John can also sympathize with Mycroft, though, because he knows what it is to have to care for someone who can’t care for themselves, even from a time when he was perhaps too young to grasp what everything meant. 

My whole headcanon behind this scene is that Mycroft was a studious and serious child who never really learned how to relax and didn’t understand his brother when he was little. Flights of fancy were something he’d never entertained for himself, and so he figured there must be something wrong with Sherlock to have such delusions. Now, as an adult, realizing that neither of them are “normal,” that they both have deep-seated issues they may never be able to address, he feels like he played some part in robbing Sherlock of that innocence. That same innocence we see shadowed in the attachment he develops for Irene. It is not that Sherlock does not recognize the implications there, he just chooses to ignore them in favor of creating a situation in which he is comfortable. 

Just as he doesn’t fail to recognize the implications of his relationship with John, but chooses to ignore them for the same reason. John makes him comfortable, and so do Mycroft and Irene. The brothers don’t hate each other as much as they want others to believe.  Sherlock knows that he has a safe space with the three of them. They’re his protection: and, as John makes clear, the connection between protection and friendship is paramount. 

With Irene’s “death,” Mycroft is crushed that Sherlock will have lost a friend, which is why he passes the torch to John. Mycroft doesn’t know how to handle the situation; he’s afraid that being the bearer of ill news will only further Sherlock’s supposed resentment for him. The whole purpose of exposing that information to John is really to get him to sympathize, to say “You know what it’s like to care for someone as incorrigible as he is, help me, please.” What he succeeds in doing is to provide John with the understanding that he loves Sherlock too much to see him in a state. Mycroft’s dealt with the addictions, the obsessions, the ever-pressing need to keep his brother entertained for fear of seeing him slipping again. He knows how Sherlock was before John came along; John is the anchor, and that is why Mycroft entrusts him with passing along the information about Irene’s death. 

Mycroft has been inextricably tied to his brother for every second he’s been alive. And in his head, sometimes, instead of seeing the manic pile of lank in front of him, he sees a little boy with a paper hat, hiding under the dinner table and whacking him in the foot with a cardboard tube.

Mycroft may scoff at sentiment, but he still keeps some small things to himself.  

Filed under sherlock bbc mycroft holmes sherlock holmes john watson irene adler character analysis a scandal in belgravia sherlockcharacteranalyses