And this, and so much more?
I’ve always been there. Right from the very beginning. Right from the day he started running.
I’m going with Zuko!… What?
Anne Boleyn, 1501-19 May 1536
“No English Queen has made more impact on the history of the nation than Anne Boleyn, and few have been so persistently maligned.”
oh man, i loved when clara when in the timestream and every version of the doctor past her by. it was such a tease, so epic, and i love how series 7.2 has been interweaving the doctor’s past regenerations throughout the episodes until they all could make sense
i’m not even gonna nitpick because i just want to be able to enjoy the fact that i enjoyed an episode of doctor who again
AND MY DOCTOR/RIVER FEELS HAVE RETURNED
And it’s what fueled the show’s essential story line for the best years of its life: the gradually romantic evolution of Jim and Pam from work spouses to actual spouses. Yes, the ham-fisted shenanigans of the final season made it plain that ‘The Office’ had punted for years on the inevitable flip side to this fairy tale: Jim and Pam had gotten each other but they’d given up their hopes and dreams in the process. But I think it’s worth remembering just how bracing and essential those flirty looks and missed connections once felt, how understated and remarkable Jenna Fischer was in a role that so easily could have rankled with cuteness or veered into doormat. The end of Season 3 remains one of a handful of perfect television moments from my lifetime: Pam is doing a talking head to the camera assuming Jim, whom she’s lost to the wiles of Rashida Jones’s Karen, has gotten a corporate job in New York. Then Jim bursts into the room, a little flustered and a lot excited. He asks Pam out on a date. She accepts. He leaves. She turns back to us, asking ‘I’m sorry, what was the question?’ And her skyscraping smile fills the screen in a way that standard sitcom laughter never could."
you like your girls insane || To Sherlock Holmes she is always the Woman. She is the Napoleon of Crime.
[x]
“[Moriarty] sits motionless, like a spider in the centre of its web, but that web has a thousand radiations, and he knows well every quiver of each of them. He does little himself. He only plans. But his agents are numerous and splendidly organised. Is there a crime to be done, a paper to be abstracted, we will say, a house to be rifled, a man to be removed - the word is passed to the Professor, the matter is organised and carried out. The agent may be caught. In that case money is found for his bail or his defence. But the central power which uses the agent is never caught - never so much as suspected.”
Elementary and the subversion of fridging women for the sake of Manpain: Or Another Reason Why Moriarty Is A Badass
(Warning for major Elementary spoilerage; if you haven’t seen the season finale, go do it. IT IS GLORIOUS.)
So other people have made better posts about how the writers subverted the Women in Fridges trope and how Moriarty used Sherlock’s own presumptions against him. I was reading one particular post (here it is for anyone who wants to read it, it has good thinky thoughts) when I had a realization about a couple of scenes that I had thought were off the first time around.
So the first scene I’m thinking of is when Sherlock wakes to Irene screaming, seemingly having a flashback. She’s screaming about how Mr. Stapleton has changed the rules again. Irene seems very distraught. Not 10 seconds later, she tells Sherlock: “Come sit with me, tell me how you’ve been.”
A weird thing for a real person in that situation to say (probably unlikely), huh?
And then there’s this scene:
SHERLOCK: Can I get you anything?
IRENE: I’m fine thanks. This must difficult for you.
SHERLOCK: I’m sorry?
IRENE: Having me here. I know how much you… see. I can only imagine what you’re picking up right now.
Like the first scene, this bothered me quite a bit. I mean here we have a woman who we’ve been told has been through some intense psychological trauma, and the focus is on how hard it is for the man who loves her? Not only that, but to have Irene voice this, to have her seemingly focus on Sherlock seeing her pain and the pain that causes him… That’s plenty screwed up.
Looking back knowing that Moriarty was playing Sherlock the entire time, god it makes so much SENSE. Because as adventuresofacomicgirl said in her post, Sherlock is self-absorbed and Moriarty knows this and ruthlessly takes advantage. It is an act to feeds off of Sherlock’s ego, putting him in the limelight of “Irene’s” emotional trauma.
The great thing is, this works on a meta level too: because Moriarty is simultaneously fooling the audience as well. She plays the role of the Fridged Woman, the role of Living Manpain Catalyst, and the prioritizing of Sherlock’s pain from a narrative standpoint is one that is culturally validated if taken at face value.
Sherlock and Irene in bed.
requested by anon.
