#i would love to see an adaptation where the murder/attempted murder of watson drives him to kill.

[everysongineverykey]

being a sherlock holmes canon fan sucks. what the fuck is "i have never loved, watson, but if i did and if the woman i loved met such a fate, i might act even as [that story's murderer] had done" and "by the lord, it is as well for you. if you had killed watson, you would not have got out of this room alive."

[irregularjohnnywiggins]

(in response to @mirrorfalls question on my favourite Moriarty, which I answered... then deleted. Because I’m good at tumblr.)

To answer the question of what my favourite versions of Moriarty is, we need to figure out what, imo, makes a ‘good’ Moriarty. For my money, there are three aspects that make Canon Moriarty interesting:

Intellect: probably obvious, but Moriarty is an opposite to the World’s Greatest Detective, so his intellect, like Holmes’, is key to his character.

Familiarity: the phrase ‘everything I have to say has already crossed your mind/then possibly my answer’s crossed yours’ is a cliche of Holmes/Moriarty interactions, but it’s a damn good cliche for a reason. Holmes and Moriarty should have a healthy respect for each other, that’s true, but more importantly they should have this sense of, as Neil Gaiman once said about him and Terry Pratchett: ‘You’re another one of me! I didn’t realize they made another one!’

Savagery: Seems weird given the other two points, but a good Moriarty should always have this point that, if pushed off, attempts to, say, push a guy off a waterfall. If my favourite Holmes is a bleeding heart barely pretending to be an unfeeling machine, Moriarty is barely hiding his inner savage behind the mask of congeniality.

So, with that out of the way, my most interesting (not objectively worse/best, just the ones I feel deserve attention) Moriarty’s from worst to best.

10: BBC Sherlock (Andrew Scott)

Let’s break this down: he’s not 1 because no-one in Sherlock is smart, it’s just Moffat trying to trick the audience with lack of explanation. He’s not 2 because Moffat is so obsessed with twists that Sherlock and Moriarty spend most of their time twisting each other so much that there is no time given to their familiarity between them. He’s not 3 because he’s not savage - he’s a poor man’s Heath Ledger’s Joker, but boring and with more homoerotic subtext. He’s not Moriarty. He’s just boring.

9: Elementary Moriarty (Natalie Dormer)

I really wanted to place her higher because I honestly love Natalie Dormer’s version, but whilst she covers the first two points the focus is more on her torrid romance with Watson Holmes, which is all well and good but does rather detract from her Moriarty-ness.

8: Young Sherlock Holmes (Anthony Higgins)

This version of Moriarty, like this version of Sherlock, is... interesting. We don’t really see his savagery, but the entire movie works to build up his relationship with Holmes. I could have done with a little less racism, though. And a little more actual Egyptian Moriarty in a movie that makes him Egyptian.

7: League of Extraordinary Gentlemen

1 and 3, mostly - as interesting as the idea that he’s a former British agent turned actual bad guy is, that’s the disadvantage of removing Holmes from the story - it’s like a Joker story without Batman, Moriarty doesn’t really have anyone to contrast with, and the two people who can contrast with him - Mycroft and Fu Manchu - never share a second of pagetime with him. And yet you can only do Holmes v Moriarty so many times, so how do you make Moriarty interesting without Holmes? Well...

6: Newman’s Moriarty

...You make them the contrast of another character, that’s what. In all seriousness, Newman’s version of Moriarty might not get much to do, but man does he feel good.

The premise of Hound of the D’Urbervilles, i.e. Sherlock Holmes but Moriarty instead, is brilliant at giving us not just how similar Holmes and Moriarty are, but how different - a personal highlight being Moriarty telling Moran that of course he didn’t figure out Moran’s backstory using deductive reasoning, why would he waste his time, he researched everything about him before he entered the room. 

I’m not entirely sure if Newman’s Moriarty is savage as opposed to increasingly petty, but his relationship with Moran hints that whilst Holmes looks at people and sees problems to be fixed, Moriarty looks at people and sees tools to be exploited, and that is a pretty sweet contrast that isn’t really explored in other versions.

5: Brett Moriarty (Eric Porter) + Merrison Moriarty (Michael Pennington)

Moving on to a classic Moriarty, whilst I don’t really think Porter adds anything the same way Brett does, he is still a really engaging portrayal. The bit where Holmes and Moriarty exchange a look on the Reichenbach Falls? Brilliant, and it wouldn’t be half as good without his particular portrayal, which stems far closer to the canon than previous ones on this list.

The BBC Radio adaptation is practically tied with this because they’re extremely similar - both attempt to follow canon as closely as possible, whilst adding their own twists. I do prefer the radio version, though, because we get some hint as to how Moriarty’s organization works and how much of a threat Moriarty is. This is actually enhanced by it being radio - whereas Brett’s version has to have Moriarty enter the room because it’s a visual medium, the radio adaptation can just have Holmes playing the violin, suddenly stopping and then revealing Moriarty’s been in the room this whole time. It’s really good, is what I’m getting at. But speaking of canon...

4: Canon

@mirrorfalls said in their original question that no version of Moriarty since the canon has ever actualized the reptilian qualities of Moriarty, and I can’t help but agree. It’s really interesting that Moriarty is linked to an animal whilst Holmes compares his body in another story to ‘a mere appendix’ - something intrinsically human even as it is superficially worthless. The idea of Moriarty in this version - calm, cold, but liable to snap at any point - is quite simply perfect, and the only thing that doesn’t rank him higher is that, in the same way William Hartnell doesn’t rank as one of my favourite Doctors, what it means to be Moriarty has changed so much since his inception. I don’t think Conan Doyle ever intended Moriarty to have the staying power that he did - he’s a plot device, pure and simple. Other authors added to that, and so we’ve got the version of Moriarty which lasts today.

3: Light Yagami

...Hear me out.

No, Light isn’t exactly a traditional Moriarty. For one thing, I’m fairly certain Moriarty doesn’t have a god complex, or a magic notebook that kills people, or a snarky apple loving Death God as a sidekick (Though, who knows, give Moran an apple fixation...) But, there’s a reason I recommend at least the first half of Death Note for anyone wanting a great Holmes/Moriarty story... It’s really good at outlining exactly what makes Moriarty and Holmes so interesting: Mind Games. Mind Games galore.

Watch, say, L’s introduction. Now imagine Holmes challenging Moriarty in the same manner. Hell, Light definitely ticks all of the points of a good Moriarty in this scene alone: he anticipates the police noticing him, he builds such a good rapport with L without either of them actually meeting that I remember losing my shit when I first watched Death Note and realized that this episode would feature the two of them actually meeting face to face, and despite his apparently calm demeanor at first, he immediately kills Lind L Tailor the instant he says something he doesn’t like. Just... he might not be a ‘true’ Moriarty, but he’s a damn good interpretation even if that wasn’t the goal. Speaking of not exactly ‘true’ interpretations...

2: Professor Ratigan (Vincent Fucking Price)

No objections, I trust?

Really, though, I wasn’t someone who watched Great Mouse Detective as a kid - I first watched it about two years ago, and god damn is this a good movie. True Story, when thinking about which Moriarty’s belong on this list, I immediately jumped to Ratigan, because he’s brilliant. He ticks all the boxes and then some - His intellect may not be his primary trait, but it’s still there, and his rapport with Basil is the stuff of legend at this point. And, to be brutally honest, Ratigan is the reason savagery is on this list in the first place. That fight on Big Ben? No version of Reichenbach has yet surpassed it, and it is everything great about this version of that core concept. Really, everything about Ratigan is a summation of how to do a brilliant Moriarty.

So, who can top the World’s Greatest Criminal Mind? Well...

1: RDJ Moriarty (Jared Harris)

Yes, I know, I was surprised to.

I was around during the Sherlock/RDJ films strife. I remember how much these films were lambasted for being ‘too action-packed’ and ‘not cerebral enough’, in stark contrast to the majesty of Sherlock and it’s twerpish plot twists. But when I think of a great Moriarty? Oh, boy, this one kicks Sherlock’s ass.

It’s also irritating, because it’s really hard to point out what makes him better than Ratigan or even Light. His plan is convoluted at best (not that the other two are any better - a good Moriarty does not a decent plan make), not helped by it being exactly the same as his plan in that godawful League of Extraordinary Gentlemen movie (which, btw, would still be bad even if it didn’t drive Sean Connery away from the film industry, but is far worse on those grounds) but, still, look at this scene. Or this one. Or that fight scene.

Tell me that’s not Moriarty.

That first scene especially runs through all three establishing Moriarty traits, yet perfectly utilizes all of them. We see how smart he is, we see his and Holmes’ respect for one another, but at the same time we see how much Holmes wants to see him behind bars and we have the perfectly paced reveal of his murder of Irene and that he intends to do the same to Watson and Mary. Everything about this scene is brilliant despite it being just the two of them talking. There’s even a bit later in the movie where Moriarty outsmarts Holmes and they communicate the gamut of emotions both characters are feeling through them exchanging a single glance.

So, yes, these films may be a bit too action packed. Yes, they may exaggerate character’s abilities, their plots may be inconsequential for the most part. But goddamn is their Moriarty a classic.