转自 guardian.co.uk/commentisfree/2012/jan/03/sherlock-sexist-steven-moffat/print
The instant Irene Adler's scarlet-tipped fingers extended across the frame on Sunday night, it seemed certain that Steven Moffat's rewriting of Sherlock Holmes's famed female adversary would cause some consternation. The series opener of Sherlock – watched live by almost 10 million people – updated Arthur Conan Doyle's A Scandal in Bohemia, the short story in which Holmes is, unusually, outwitted by an acute American adventuress in possession of a compromising picture of the Bohemian king. The woman Holmes referred to as "the woman" was remade by Moffat as a high-class dominatrix saved only from certain death by the dramatic intervention of our hero. While Conan Doyle's original is hardly an exemplar of gender evolution, you've got to worry when a woman comes off worse in 2012 than in 1891.
In many ways the Holmes stories are a perfect fit for Moffat's skill-set. The puzzle-box plotting, the 24/7 bromance, the fetishisation of "masculine" reason over pesky "feminine" emotion, all suit him right down to the ground. In the case of his stewardship of Doctor Who, Moffat's tendency to write women plucked straight from a box marked "tired old tropes" (drip/scold/temptress/earth mother to name but a few), and his consequent failure to sketch a compelling central dynamic between the lead and his companion, has seriously affected the show's dramatic power. But no such trouble with Sherlock.


Doctor Who has never just been about a dashing alien who happens to be wicked smart. The Doctor cares about stuff, and uses his considerable noodle to fight injustice, tyranny and exploitation. By contrast, Holmes is in it for no reason other than Reason. An insufficiently stimulating case will be summarily dismissed as "boring". A Scandal in Bohemia opens with Conan Doyle sidelining feeling as "grit in a sensitive instrument", a spanner in the works of the world's "most perfect reasoning and observing machine". Unlike Who – where, famously, the evil of the Daleks is linked directly to their rejection of human emotion – Conan Doyle paints a hyper-rational universe almost made just for Moffat.
In this context, what Moffat would do with Adler was always going to be interesting. From a certain perspective, Conan Doyle's character is something of a "proto-feminist", a woman of great intellect and formidable agency, who, above all, proves to be a match for Holmes. It's not unproblematic that both author and protagonist respect Adler only because she has a "soul of steel" and "the mind of the most resolute of men". She's not a waste of space, it is suggested, because she escapes the weakness of her sex and can act, symbolically, as a man. But, importantly, she makes her own way in the world. In the climactic scene of Conan Doyle's story, emotion initially leads her to betray herself, and – like all women – when confronted by danger, she protects the thing she cares about (which, according to Holmes, is invariably either babies or jewellery). However, after these events, having had time to reflect coolly, Adler realises she has given herself away and plans the escape by which she gets one over on Holmes.
However, even this ambiguous portrait of female power proved too much for Moffat to stomach. Granted, he allowed her to keep her smarts. But, at the same time, her acumen and agency were undermined every which way. Not-so-subtly channelling the spirit of the predatory femme fatal, Adler's power became, in Moffat's hands, less a matter of brains, and more a matter of knowing "what men like" and how to give it to them; of having them by the sexual short and curlies, or, perhaps more aptly, on a nice short leash. Her masterminding of a cunning criminal plan was, it was revealed late in the day, not her own doing, but dependent on the advice of Holmes's arch nemesis, James Moriarty. A move that, blogger Stavvers noted, neatly reduced her from "an active force to a passive pawn in Moriarty and Holmes's ongoing cock-duelling".
More troubling still, Moffat's Adler blatantly fails to outwit Holmes. Despite identifying as a lesbian, her scheme is ultimately undone by her great big girly crush on Sherlock, an irresistible brain-rot that leads her to trash the security she has fought for from the start of the show with a gesture about as sophisticated – or purposeful – as scrawling love hearts on an exercise book. As a result, Moffat sends Adler out into the world without the information she has always relied on for protection, having made herself entirely vulnerable for the love of a man. Lest we haven't got the point yet, Holmes hammers it home. "Sentiment," he tells us, "is a chemical defect found in the losing side."
And then there was the jaw-dropping finale, which somehow managed to smoosh together a double-bill of two of patriarchy's top-10 fantasies. All those troubled by female sexual power – or the persistent punctuation of orgasmic text alerts – were treated to the sight of the vamp laid low, down on her knees, about to have her block knocked off by a great big sword. And, at the same time, our hero miraculously appeared to save his damsel in distress. Medusa and Perseus, Rapunzel and her prince, all wrapped up in a potent little bundle. Symbolically speaking, it was really quite impressive. But for those of us crazies who like to think that women are, y'know, just regular human beings, it was, politically, really quite regressive.

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这篇卫报剧评高度赞扬了原著中的艾琳形象，对于新版艾琳，报道认为艾琳的聪明是依靠小莫的指点而来的，福艾之间的智力比拼实际上还是福和莫之间的较量；艾琳之所以败给福，是因为她爱上了福，感情变成她的弱点和掣肘之处；最后结局处的逆转，即福救艾，太过戏剧化，而且对于女性来说，依靠男性的力量逃生，是一种倒退。
标题就是“福尔摩斯是大男子主义者吗”？我认为这个标题就够挑衅的了，从文风看来，有点像个女权主义者写的，哗众取宠。


福本来就是吧。。。

觉得福显然不会意识到什么是大男子主义，分明就是大“自我”主义好吧，什么性别遇见他都是浮云了，天天被他说话噎着的不就是花生和他哥么
不过新版的艾琳确实没显出多大的智慧，但是自信勇敢聪明什么的，把福给呛几次就已经很足够了...

其实卷福和原著还是有差别的。。。反正我没看到原著里福随口就骂人白痴吧。。。

Granted, he allowed her to keep her smarts. But, at the same time, her acumen and agency were undermined every which way. Not-so-subtly channelling the spirit of the predatory femme fatal, Adler's power became, in Moffat's hands, less a matter of brains, and more a matter of knowing "what men like" and how to give it to them; of having them by the sexual short and curlies, or, perhaps more aptly, on a nice short leash. Her masterminding of a cunning criminal plan was, it was revealed late in the day, not her own doing, but dependent on the advice of Holmes's arch nemesis, James Moriarty. A move that, blogger Stavvers noted, neatly reduced her from "an active force to a passive pawn in Moriarty and Holmes's ongoing cock-duelling".
其实仔细看看这段也得也是有道理的，不过，必然是电视剧，这种噱头既有娱乐性也有杀伤力，就是不知道以后有没有她的戏份了呢。但是到最后赢的总会是福吧，再说开头也算是艾琳救了他一次，之后又糊他破译了密信，所以这样看来还是挺对等的吧。。。

原著的福要稍微那么深沉一点，基本就像JB的版本吧，基本都是彬彬有礼风度翩翩的，现在是年轻版的，哈哈。不禁想想等以后BC到了大叔的级别他还会演Sherlock么，虽然很期待那种形象但是到那个时候他必然会已经厌倦了这个角色吧，要拍个十来年有可能么...

有一点我同意，这次的爱林虽然看上去很强，事实上却是比原著里弱。原著的艾林赢阿福靠的是自己的智慧，这次的艾林靠的是莫娘，她只是莫娘用来拌倒福尔摩斯兄弟的一枚棋子，而且最后还因为自身的原因输了，差点丢了性命。

同意。

艾琳既然以聪明著称，那我们就来列举一下这版艾琳的聪明之处吧？除了莫娘教给她的那些把戏，她自己到底聪明在哪里？

一次三集，拍十年也才三十集⋯⋯

不说卫报对福尔摩斯到底是不是男权至上主义者的分析，卫报对艾琳原著形象与改编形象的对比，真是入木三分：
从某种观点来看，柯南道尔塑造的艾琳可以称之为“女权主义者的先驱”，一个无比机智的女人，非常勇敢，总之，堪配福尔摩斯。毫无疑问，无论是作者本人，还是故事里的主人公，都对艾琳表示敬佩，只因她“意志如钢”以及“拥有最坚毅男人的心。”她的存在自有其价值，如书中所说，她超越了本身的性别，像男人一般处事。但最重要的是，她是依靠自己取得成功的。在柯南道尔原著里，高潮一幕中，火警让她不小心泄露了照片的位置，像其他女人一样，遭遇危险的时候，她保护她在意的东西（在福尔摩斯看来，不外乎是婴孩或珠宝）。但在此之后，她迅速镇定下来，意识到自己犯了错误，开始计划另一次逃脱。
相形之下，魔法特笔下的艾琳就不是这样了。诚然，魔法特让艾琳保留了她的智力，但与此同时，她的智力和手段越来越处于下风。并不是说强势女性最终难逃失败的厄运，魔法特塑造的艾琳与其说是用智慧与男**锋，不如说她对男性心理了如指掌，并能巧妙与之周旋，她使用的是性的吸引力，或者不如说用性工具来驯服别人。她那巧妙的犯罪计划，后来证实了出自是福尔摩斯的死敌莫里亚蒂之手。正如Stavvers在博客中所说，“她只不过是福莫之间争斗的一颗棋子，而不是依靠自己的智慧取得成功。”
魔法特笔下的艾琳明显在智力上没有打败福尔摩斯。虽然她是个女同，但对夏洛克的强烈迷恋让她的计划最终没有得逞。一直以来，她精于算计，目标明确，寻求庇佑，但自从对夏洛克产生了爱慕之情，让她无法抗拒的不理智情感就导致了她前功尽弃。因此，魔法特把艾琳推进了一个让她无法用赖以生存的情报作保护的世界，爱上一个男人，她一无所有。说得清楚一些，就像福尔摩斯一针见血地指出：“感情用事是失败者的催化剂。”
卫报最后把艾琳称为：“一个卖弄色相的女人”。

其实刚开始福确实被艾琳分了一点心，比如说有些小走神，对于花生的各种反应毫无反应，再比如说被下药的那一段，人家摸摸他他就放松警惕啦。
至于这个版本的艾琳是不是借助于出卖色相呢，仔细看台词发现Mycroft对艾琳的称呼之一就是a fugitive sex worker，好吧，其实都看完了才发现这个版本的艾琳定位也就是一个和恐怖分子勾勾搭搭的sex worker么，只是客户都比较高级而已什么皇室成员，官员啦，人家就是专门从事卖弄色相的职业的，就是一个聪明有野心的高级应召女郎。。。

排~
她问卷福那个运动员案是怎么破的时候一直在提出疑问，这中间好像都没有停顿思考，唔，不是聪明人的做法~
她诈死的时候，卷福的“差不思饭不想。。”。。是因为想不出密码么？

怪事，竟然能打出应召女郎，度娘你休假去了么？

我觉得是。
花生他们都以为是因为艾琳的死。在废电厂里花生说他写sad music，不吃不喝不说话等等，但是最后又说了句“不过他没事的时候也这样”……反正大家都拿不准他的funny old brain里想的啥。

JB版就好多季，每季还很长。。。。JB貌似演过花生的＝＝、、、