Natalie Dormer's portrayal of Irene Adler/Moriarty in the CBS series Elementary isn't simply a casting choice. Instead it serves as an important landmark when understanding television production changes while showcasing a complex narrative that challenges what was, in essence, a typically very clear cut approach towards specific story archetypes, where the series subverts those usual set of rules by making use of various actors to completely redefined all pre existing narrative approaches by pushing more importance towards character complexity, this particular study will show, how those early production decisions made its imprint and help shape how 'Elementary' subverted what viewers expected while discussing that under the wider landscape of how other TV show approaches had been slowly adapted. Today, that specific complex layered character created for Natalie Dormer ( along with some further details ) will guide us as core example regarding shifting landscape of shows.
The Enigmatic Irene/Moriarty: A Departure From Traditional Archetypes
What is very apparent about 'Elementary'’s take with Natalie Dormer was their desire in showing Moriarty not as an isolated mad genius but as a flawed and relatable individual with very strong connections to the hero that, for most story settings will play the opposite roles. This subtle yet very strong re-characterization subverts all expectations from similar crime or mystery drama settings. Natalie's dual role ( Irene, and her twisted alter-ego) are deeply interconnected via story and not simply by some narrative requirement for a villain.
Unlike simple and often predictable ( mostly evil focused ) villains this version of Moriarty showcased complex character arc ( mostly delivered though intense performances), she was shown as cunning but also incredibly emotionally nuanced that often times also provided deep rooted reasons ( which is rare in crime shows) and not simple generic evil actions for shock values or narrative progression making them seem more human. The very casting also further breaks established patterns, this version of Moriarty subverts all previous representations which creates further confusion and ethical discussion on what is to be a good or evil and does not play by established conventions of gender, background, race or status that would've made it quite a trope that most TV series tend to simply go back on, without much thinking (especially when presenting ‘mastermind villains’). What could have been very stereotypical becomes unique with that casting selection and acting value to it.
The use of flashback sequences (as shown through Natalie’s earlier scenes ) also gave some insight on underlying emotions often linked to trauma , while also showing some deeper level motivations to then fully contrast it to modern present day ( while not simply showing a bad guy/girl that was always bad but one that becomes shaped by outside forces) which does raise questions about accountability and who (or what) is truly at fault which is a topic almost completely absent from common detective, or cop TV production sets; where a core message usually is only set for black vs white decisions.
Beyond a Singular Show: A Look at Shifting TV Production Formats
The casting choices of Dormer as both Irene Adler and Moriarty weren’t accidental since such decisions helped provide context regarding several elements within that production; such approaches tend to often have an ongoing ripple effect on wider media production as 'Elementary'’s Moriarty helps bring into question established ways for a clear good vs bad scenarios. Unlike other more generic approaches, and like that Natalie’s portrayal helped show it; even villains, even those often portrayed by extremely gorgeous, very high acting skill and capable women can have clear emotional reasons that, if observed, can provide as much value as from lead characters for ethical concerns or deeper philosophical analysis.
And that single concept created an enormous push to allow for further changes on how shows approach their story narratives ( if not only just the casting choices) that go well outside usual archetypes of gender or ethnicity. Many modern productions also now try to embrace much deeper character examinations while creating space for both internal struggles over external conflict even while using common TV settings ( such as cop shows or procedural programs ) but all done though that initial path paved previously, setting up what is more expected of a modern-day villain to act, react or evolve beyond previously limitations and very strict moral archetypes previously designed for it ( mostly on male focused and power driven perspective). That shift made room for others who never had that place before as now studios and production companies realize how diversity isn't simply a 'checkmark' but a core element in production values that often does elevate show ratings if handled with skill, dedication and attention as these choices then add value rather than subtract and most important makes all plots and subplots much more appealing to an ongoing new and more diverse viewing audiences that is growing on each production cycle.
That all came ( partly at least ) because Natalie Dormer’s casting, set in motion a greater willingness for different television formats to use new creative methods rather than strictly re using templates from years past, because 'Elementary' offered its take based on character complexity first.
A Legacy of Influence: Dormer's Impact on Female Characters
It’s not an over exaggeration that in that Natalie's take as this core villain within 'Elementary's' framework did also change on how modern characters are also designed when observing recent series. In both big and smaller production settings this influence did set a trend ( not simply for similar police shows as well as adaptations from already existing properties ) as other shows often started to create characters ( mostly those presented in opposing format to those established protagonists ) where you often don't simply witness a character who happens to be evil from the get-go and those were rarely ever presented under a ‘strong female’ format but they began to become more and more complex as they would now have deeper history or emotional motivation ( regardless if the outcome would or wouldn't be sympathetic with the viewers) to be doing what they do which made for a much better, complex dynamic between cast; especially among more recent series and productions. And that's one way all modern media production now tend to be designed, where good writing often gives room to consider ‘why things happened’ instead of a simple good versus evil fight dynamic . This trend clearly shows itself as the new standard.
Those creative methods showcase the importance of how specific shows push their overall storytelling and narrative format in what normally would be a standard template where almost every decision ( specially casting) could very well be generic and simple when you compare production results and often ‘safe choice’ of previous TV program cycles with more current formats where everything is much more fluid and not always quite so easily obvious.
Conclusion: A Touchstone for Character Complexity and Evolution
Ultimately it is Natalie Dormer's portrayal as both versions of Adler, that helps 'Elementary' shine so bright because the casting was also combined with good story design with strong ethical quandaries with this version often highlighting that good and bad isn't necessarily determined on 'who you are' as a single factor, but also with deeper aspects often connected to personal experiences and choices made during their lifetime. By playing against established rules those new formats that she had to embrace did create new dimensions for those specific plots and help further the overall value on all stories presented as part of an ever-growing ongoing list of TV productions seeking better more complex character writing that also elevates viewing experience (for both casual, and more dedicated fans).
Dormer’s performance ( through very obvious unique creative methods in its story designs that helped this specific property become unique ) also acted almost like a signal: one that showcased TV production has the creative talent and ability to go outside any pre established limitations and use even characters within long well worn or trodden storytelling tropes or structures and can offer great meaningful results for viewers who then can explore much wider ranging and deeper questions as the narrative then seems closer to real human experience. It pushes creativity while it improves viewing as a bonus.