Tag: Enola Holmes

Millie Bobby Brown’s Net Worth Won’t Make Her A Damsel In Distress

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Eleven might be her name on Stranger Things, but we’re certain that Millie Bobby Brown’s net worth is a much larger number than that today. Up ahead, we’re diving into everything there is to know about the Netflix star’s salary and earnings—so keep on reading below to find out Millie Bobby Brown‘s net worth and more!

Millie was born February 19, 2004, in Marbella, Spain, as the third of four children to English parents Kelly and Robert Brown. As a baby, Millie was partially deaf in her left ear, and within years, she would eventually lose all of her hearing in that ear. But the young star never let her hearing loss get in the way of pursuing a career as an actress. After initially relocating to Bournemouth, England at the age of four, Millie and her family settled down across the pond in Orlando, Florida when she was eight years old, where she began to follow her dream of stardom.

Her first foray into film and television came when she was only nine years old, when she booked a guest-starring role in the ABC fantasy drama Once Upon a Time in Wonderland, a spin-off of Once Upon a Time, in 2013. The following year, Millie landed another starring role in the BBC America series, Intruders, where she starred in the role of Madison O’Donnell. Around the same time, Millie was steadily securing guest appearances in TV shows like ABC’s Modern Family, Grey’s Anatomy and NCIS on CBS. Of course, things really started to take off for the young star when she was cast in what’s easily her more popular role to date yet as Eleven in Netflix’s Stranger Things.

Since then, Millie has continued to carve out a space for herself outside of her role as Stranger Things’ Eleven, starring in blockbusters like 2019’s Godzilla: King of the Monsters, with a character she went on to reprise in the 2021 sequel, Godzilla vs. Kong. She has also maintained a positive working relationship with Netflix throughout the years, starring in the streaming giant’s 2020 mystery film, Enola Holmes. For everything we know about how much Millie Bobby Brown has made from these films—along with her Stranger Things salary and more—just keep on reading below.

How much does Millie Bobby Brown make from Stranger Things?

Image: Netflix.

How much does Millie Bobby Brown make from Stranger Things? According to Celebrity Net Worth, Brown made $10,000 per episode for season one of Stranger Things, which paid her a total of $80,000. She received a raise for Stranger Things season 2, which paid her $30,000 per episode, according to Deadline. By season three, the young actress was reportedly bumped up to somewhere between $200,000 and $250,000 per episode. While it’s unknown precisely how much Millie Bobby Brown has earned for Stranger Things season four, it is believed she currently earns roughly $300,000 per episode.

Since joining the Stranger Things cast in 2016, Millie has received endless praise for her performance, along with a number of awards nominations and wins. In 2017, Millie was nominated for Oustanding Supporting Actress in a Drama Series and Oustanding Performance by a Female Actor in a Drama Series at the Primetime Emmy Awards and Screen Actors Guild Awards, respectively. She ended up taking home a SAG Award that year alongside the rest of her cast, who were nominated for Oustanding Performance by an Ensemble in a Drama Series. She went on to earn another two SAG award nominations in 2018 and 2020 with her cast, as well as another nomination for her own role in the series. In 2018, she was also up for the Primetime Emmy Award for Oustanding Supporting Actress in a Drama Series, but ultimately lost out to Thandiwe Newton for her performance as Maeve Millay in HBO’s Westworld.

In an interview with The New York Times following her 2017 Emmy nomination, Millie, who was 13 at the time, couldn’t help but gush about the moment when she found out the news. “My dad was watching the announcement, and the guy on the live stream was like, “Oh, we’re finished with this.” The live stream stopped, and my dad had three different electronic devices on, like, “Come on! Come on!” trying to find the full list,” she said of the nominees. “And then finally my publicist called me and told me. I was just in shock. I thought she was going to call saying, “Ah, better luck next time,” or something like that. But she said congratulations.” The young actress went on to add of Stranger Things, “I’m so happy for the show. The show completely deserves it. The show is 10 times more amazing than my nomination.”

What is Millie Bobby Brown’s Enola Holmes salary?

Image: Everett Collection.

How much does Millie Bobby Brown make from Enola Holmes? Millie has starred as Enola Holmes, the teenage sister of the already-famous Sherlock Holmes, in two Enola Holmes movies: 2020’s Enola Holmes and 2022’s Enola Holmes 2. She was also an executive producer on both movies. According to Celebrity Net Worth, Millie made $6.1 million for the first Enola Holmes movie, with an additional $500,000 as an executive producer and $800,000 in bonuses based on streaming performance. Variety reported in 2022 that Millie made a flat $10 million for Enola Holmes 2.

In an interview with Deadline in 2022, Millie explained how her relationship with Henry Cavill in Enola Holmes 2 differed from her relationship with Stranger Things co-stars like Noah Schnapp and Charlie Heaton. “It’s different because I grew up with Noah and Charlie. I met them when I was 10. So, for me, it does feel like your schoolmates. And with Henry, it feels like a real adult relationship. Like a really good friendship, a really healthy one,” she said. “One that we have terms and conditions. I know Henry. He has terms and conditions with me. I’m not allowed to ask about his personal life. It’s like, ‘Millie, shut up. No.’ And I’m like ‘Understood.’ Whereas with the Stranger Things kids, it’s different. There’s no boundaries because it’s like we’re all siblings. But with Henry, he’s very strict with me, which I appreciate.”

She also told the magazine about how she relates to Enola’s feeling about being “undermined” in her career. “I think we are progressing slowly as a united front. But I think the industry can easily have its faults and its great accomplishments. This is one of them. Yes, of course I’ve been undermined in the past, but we don’t focus on those things. We focus on the positives, and I have not been undermined in this situation. I was given an opportunity to be a female lead in a film. And that is a step forward,” she said. Millie further opened up about what she’s learned from the Enola Holmes franchise, which was her first time in a leading role. “The dedication to the film is unlike all of us put together. So yes, it does come down to performance, but it also very much comes down to directing and being able to have a connection with your director,” she said. “It’s a dream come true.As for me, I learned many things, because I’m an upcoming young woman and that is a real learning curve for me. This is a very big pivotal moment within my career and my life. This is the first role I’ve really led.”

What is Millie Bobby Brown’s net worth?

Image: Everett Collection.

So, what’s Millie Bobby Brown’s net worth? According to Celebrity Net Worth, Millie Bobby Brown’s net worth is $14 million as of 2024. In addition to her Stranger Things salary, Millie Bobby Brown’s net worth can be credited to her starring roles in blockbusters like Godzilla: King of the Monsters in 2019 and Godzilla vs. Kong in 2021, along with Netflix originals Enola Holmes and The Girls I’ve Been.

In 2019, Millie also launched her own cosmetics line, Florence by Mills. In an exclusive interview with STYLECASTER in 2021, Millie opened up about the inspiration for her product line, telling us that she crafted her brand with teenage customers in mind. “I wasn’t happy with my makeup, or my skincare really, because a lot of the benefits that I was seeing were for anti-aging, which someone at my age doesn’t really need to be concerned with,” she shared at the time. “I wanted to make products for my generation, that make us look good and feel good, and let us just be ourselves,” the actress added.

Millie’s brand, along with her ad campaigns with big companies like Samsung, Converse, Vogue Eyewear, EA Games and more, have all contributed to her net worth’s massive growth since its earliest reported figure of $6.8 million in 2017.

Our mission at STYLECASTER is to bring style to the people, and we only feature products we think you’ll love as much as we do. Please note that if you purchase something by clicking on a link within this story, we may receive a small commission of the sale.

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Jenzia Burgos

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March 8, 2024
“Enola Holmes 3” Is Reportedly In Progress — Here’s What We Know

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Millie Bobby Brown dazzled fans everywhere with her performance in “Enola Holmes 2,” which premiered on Netflix on Nov. 4, 2022. Still, the movie left fans with one major question: will there be an “Enola Holmes 3”? It seems like the odds are pretty good, because on Nov. 7, Collider reported that a screenplay for a third installment was in the works.

The news came via an interview with the head of Netflix Film, Scott Stuber, who also praised Brown’s performance. “You know, she’s such a great homegrown star for us,” he told Collider of Brown. “I mean, obviously, ‘Stranger Things’ is huge for us in that, and watching her grow as an actress . . .” He also hinted at a possible third Enola Holmes movie. “The Holmes IP is weirdly elastic. Obviously, Warner Bros. did an incredible job with Downey and Jude Law, so this idea that we can extend that IP with her is exciting,” he said, referring to Robert Downey Jr. and Jude Law’s “Sherlock Holmes.” “So, we’re working once again on a screenplay to try to get that. But yes, aspiration,” he continued. “I’d like to do another one.”

The Enola Holmes movies are based on The Enola Holmes Mysteries, a series of seven books written by Nancy Springer. The original six books were published between 2007 and 2010, with a seventh book released in 2021. The first Enola Holmes movie, which debuted in 2020, along with the second, adapt parts of the first two books in the series, “The Case of the Missing Marquess” and “The Case of the Left-Handed Lady.” “The Case of the Bizarre Bouquets” is the third book in the series. That means there’s lots of material to adapt for future movies, and Brown said she’s definitely interested in doing more.

In an interview with ScreenRant published in November 2022, she said, “I would love to be a part of another one.” Brown explained, “I would love to see [Enola] do more cases, be put under pressure, be put in crazy situations, make her feel vulnerable again. I absolutely love seeing her back at work.”

The most mysterious part of another Enola Holmes movie is whether Henry Cavill would return as Sherlock Holmes, Enola’s older brother. In 2022, the actor announced that he was leaving his lead role in Netflix’s “The Witcher” after season three dropped in June 2023. It’s not clear if Cavill leaving “The Witcher” means he won’t appear in any more Netflix projects, or if he’ll be open to appearing in any more Enola Holmes films. “The Witcher” replaced Cavill with Liam Hemsworth, so if it did come to that, Netflix might choose to recast Cavill in the Enola Holmes film series, too.

We’re still waiting for “Enola Holmes 3” to get the official green light, but we’re optimistic it’ll happen soon.

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Victoria Edel

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November 7, 2023
Sherlock Holmes To Finally Be Public Domain In 2023

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WASHINGTON (AP) — Sherlock Holmes is finally free to the American public in 2023.

The long-running contested copyright dispute over Sir Arthur Conan Doyle’s tales of a whipsmart detective — which has even ensnared Enola Holmes — will finally come to an end as the 1927 copyrights expiring Jan. 1 include Conan Doyle’s last Sherlock Holmes work.

Alongside the short-story collection “The Case-Book of Sherlock Holmes,” books such as Virginia Woolf’s “To The Lighthouse,” Ernest Hemingway’s “Men Without Women,” William Faulkner’s “Mosquitoes” and Agatha Christie’s “The Big Four” — an Hercule Poirot mystery — will become public domain as the calendar turns to 2023.

Once a work enters the public domain it can legally be shared, performed, reused, repurposed or sampled without permission or cost. The works from 1927 were originally supposed to be copyrighted for 75 years, but the 1998 Copyright Term Extension Act delayed opening them up for an additional 20 years.

While many prominent works on the list used those extra two decades to earn their copyright holders good money, a Duke University expert says the copyright protections also applied to “all of the works whose commercial viability had long subsided.”

“For the vast majority—probably 99%—of works from 1927, no copyright holder financially benefited from continued copyright. Yet they remained off limits, for no good reason,” Jennifer Jenkins, director of Duke’s Center for the Study of the Public Domain, wrote in a blog post heralding “Public Domain Day 2023.”

That long U.S. copyright period meant many works that would now become available have long since been lost, because they were not profitable to maintain by the legal owners, but couldn’t be used by others. On the Duke list are such “lost” films like Victor Fleming’s “The Way of All Flesh” and Tod Browning’s “London After Midnight.”

1927 portended the silent film era’s end with the release of the first “talkie” — a film with dialogue in it. That was “The Jazz Singer,” the historic first feature-length film with synchronized dialogue also notorious for Al Jolson’s blackface performance.

In addition to the Alan Crosland-directed film, other movies like “Wings” — directed by William A. Wellman and the “outstanding production” winner at the very first Oscars — and Fritz Lang’s seminal science-fiction classic “Metropolis” will enter the public domain.

Musical compositions — the music and lyrics found on sheet music, not the sound recordings — on the list include hits from Broadway musicals like “Funny Face” and jazz standards from the likes of legends like Louis Armstrong and Duke Ellington, in addition to Irving Berlin’s “Puttin’ on the Ritz” and “(I Scream You Scream, We All Scream for) Ice Cream” by Howard Johnson, Billy Moll and Robert A. King.

Duke’s Center for the Public Domain highlighted notable books, movies and musical compositions entering the public domain — just a fraction of the thousands due to be unleashed in 2023.

BOOKS

— “The Gangs of New York,” by Herbert Asbury (original publication)

— “Death Comes for the Archbishop,” by Willa Cather

— “The Big Four,” by Agatha Christie

— “The Tower Treasure,” the first Hardy Boys mystery by the pseudonymous Franklin W. Dixon

— “The Case-Book of Sherlock Holmes,” by Arthur Conan Doyle

— “Copper Sun,” by Countee Cullen

— “Mosquitoes,” by William Faulkner

— “Men Without Women,” by Ernest Hemingway

— “Der Steppenwolf,” by Herman Hesse (in German)

— “Amerika,” by Franz Kafka (in German)

— “Now We Are Six,” by A.A. Milne with illustrations from E.H. Shepard

— “Le Temps retrouvé,” by Marcel Proust (in French)

— “Twilight Sleep,” by Edith Wharton

— “The Bridge of San Luis Rey,” by Thornton Wilder

— “To The Lighthouse,” by Virginia Woolf

MOVIES

— “7th Heaven,” directed by Frank Borzage

— “The Battle of the Century,” a Laurel and Hardy film directed by Clyde Bruckman

— “The Kid Brother,” directed by Ted Wilde

— “The Jazz Singer,” directed by Alan Crosland

— “The Lodger: A Story of the London Fog,” directed by Alfred Hitchcock

— “Metropolis,” directed by Fritz Lang

— “Sunrise,” directed by F.W. Murnau

— “Upstream,” directed by John Ford

— “Wings,” directed by William A. Wellman

MUSICAL COMPOSITIONS

— “Back Water Blues,” “Preaching the Blues” and “Foolish Man Blues” (Bessie Smith)

— “The Best Things in Life Are Free,” from the musical “Good News” (George Gard “Buddy” De Sylva, Lew Brown, Ray Henderson)

— “Billy Goat Stomp,” “Hyena Stomp” and “Jungle Blues” (Ferdinand Joseph Morton)

— “Black and Tan Fantasy” and “East St. Louis Toodle-O” (Bub Miley, Duke Ellington)

— “Can’t Help Lovin’ Dat Man” and “Ol’ Man River,” from the musical “Show Boat” (Oscar Hammerstein II, Jerome Kern)

— “Diane” (Erno Rapee, Lew Pollack)

— “Funny Face” and “’S Wonderful,” from the musical “Funny Face” (Ira and George Gershwin)

— “(I Scream You Scream, We All Scream for) Ice Cream” (Howard Johnson, Billy Moll, Robert A. King)

— “Mississippi Mud” (Harry Barris, James Cavanaugh)

— “My Blue Heaven” (George Whiting, Walter Donaldson)

— “Potato Head Blues” and Gully Low Blues” (Louis Armstrong)

— “Puttin’ on the Ritz” (Irving Berlin)

— “Rusty Pail Blues,” “Sloppy Water Blues” and “Soothin’ Syrup Stomp” (Thomas Waller)

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December 30, 2022
Millie Bobby Brown and Lindsay Lohan: A Teen Star Correlation

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Being that Lindsay Lohan was the same age as Millie Bobby Brown when her career was reaching a zenith, it seems somewhat fitting (or at least cyclical) that both should have a movie out on Netflix at the same time. While the former’s “film” (a schlock-y Hallmark wannabe) is further proof that she made a career out of simply being “teenaged,” the latter’s proves that she has more enduring staying power. And, to be frank, more talent and acting range. Both qualities have been shown in the short length of her career, which is starting to expand more heavily into film with the end of Stranger Things on the horizon—Enola Holmes and Enola Holmes 2 being part of that steady segue.

And yes, Brown, like Lohan, seems to understand the value of clinging to the Netflix tit for work, even amid cries of the online film and TV giant “not being what it once was.” Sort of like Lohan herself, whose steady stream of hits only flowed when she was a youth, mainly as a result of sucking on Disney’s tit instead of Netflix’s (then still mailing out DVDs to subscribers). This included a succession of “feel-good” movies that started with The Parent Trap in 1998 and continued at the dawn of the 00s with Life-Size, Get A Clue, Freaky Friday and Confessions of a Teenage Drama Queen. All, of course, Disney-backed endeavors that complicated things when Lohan opted to embark upon the requisite Disney teen star “gone bad” route. Right around the time she decided to reteam with the juggernaut for the production of Herbie: Fully Loaded (after Paramount released Mean Girls in ’04).

A title that, obviously, left plenty of room for the tabloids to jestingly riff off of as Lohan was hospitalized for “exhaustion” and, oh yeah, an infected kidney. At the same time filming was going on, her partying (a.k.a. going out to clubs back when they were still bankable due to people actually being sentient, sexual creatures) was coming under more scrutiny. After all, she had just turned eighteen and was far more prone to wanting to sow the oats that being a highly-paid actress permitted (see: her being on the cover of a May ’04 Us Weekly with the headline, “Teens Gone Wild: Older men, all-night partying, extreme PDA…”). Plus, just as Britney and the Olsen twins before her, the obsession with Lohan “being legal” was part of the Nabokovian bread and butter that sold magazines in the late 90s and 00s. Lohan even appeared on an issue of Rolling Stone the year she turned eighteen with the headline, “Lindsay Lohan: Hot, Ready and Legal!”

In the decade when Millie Bobby Brown would come of age in her fame, the nascent #MeToo movement bubbled to the surface in 2017, when Brown was thirteen years old and one year into her stint as Eleven on Stranger Things. By 2020, the year of her sixteenth birthday (in addition to Miss Rona’s havoc), Brown had had enough of the overt sexualization of her body despite being a child. Something that Billie Eilish avoided full-stop by covering her own in baggy clothing that spoke to her being the twenty-first century ideal of a sexless pop star. Brown wasn’t exactly “flashing it” either, least of all à la Britney or even Lindsay—usually while they were out drinking and drugging to the tabloids’ (and TMZ’s) delight.

Brown did none of these things, and was not nearly as ridiculed or hounded as someone such as Lohan. Yet Brown grew up in an era where so much less is “tolerated.” Including the acceptance of men fetishizing underage girls in this way no longer being so “welcomed” by the media. Hence, the freedom of Brown being able to declare on her Instagram (a tool that 00s teen stars didn’t have the luxury to access), “There are moments I get frustrated from the inaccuracy, inappropriate comments, sexualization, and unnecessary insults that ultimately have resulted in pain and insecurity for me.”

On one level, somebody like Lohan would probably want to say, “Bitch, you don’t know from inaccuracy, inappropriate comments, sexualization or unnecessary insults.” On another, maybe Lohan can take comfort in having paved the way for subsequent teen stars to have far less of a hard time (all while narcissistically assuming it’s still “so hard”). Brown, too, wants to offer that courtesy to subsequent generations of famous teen girls, as made clear when she added to her sixteenth birthday comment, “I feel like change needs to happen for not only this generation but the next. Our world needs kindness and support in order for us children to grow and succeed.”

Alas, it appears as though the bullying nature of tabloid journalism (parading as newsworthy events) has only transferred with more unmitigated vengeance to the online landscape. The germinal example of this being Perez Hilton’s illustrious blog (that was, let’s be honest, far more deliciously cunty in the 00s). An entity that came full-circle when both Perez and Lindsay, at one of her many nadirs in 2012, decided to use one another to their respective advantage by cameo’ing on an episode of Glee called “Nationals.” And, speaking of gays, Brown’s closest brush with intense online bullying was when a series of memes attributing her with homophobic quotes that she never said bombarded her Twitter account. Then just fourteen, Brown decided to quit the medium (long before it was chic to do so in 2022). Lohan, simultaneously loving and hating celebrity, likely wouldn’t have “quit” being present in magazines had it even been an option.

Brown and Lohan’s divergence when it comes to romantic prudence is also markedly different. For while Lohan was dating Wilmer Valderrama—undoubtedly before she turned eighteen—a notorious player with a penchant for courting women with age gaps (though not to the same extent as Leonardo DiCaprio or Jake Gyllenhaal), Brown has kept it decidedly staid and age-appropriate with her current boyfriend, Jake Bongiovi (the spelling of which is somehow supposed to make us forget he’s Jon Bon Jovi’s son). Lohan’s mistake with her first high-profile romance at the apex of her career didn’t account for how Valderrama would, just a year after the breakup, describe, among other details to Howard Stern, that Lindsay was “a big fan of waxing.” So yeah, exactly the type of sleaze someone should be dating when they’re tabloid fodder already. That Brown is taken more seriously as an actress than Lohan ever was has also contributed to the “safe space” form of her celebrity. Less laughingstock, more tissue box stock (that’s a tear reference, not a cum one).

However, going back to the similarities between Lohan and Brown, the ages at which each actress was when they got their first major start also eerily align, for Brown was twelve when Stranger Things debuted, and so was Lohan when The Parent Trap arrived in theaters. What’s more, when Lohan was seventeen and eighteen, her two biggest movies came out—Freaky Friday (2003) and Mean Girls (2004), respectively. Brown has also released her two biggest movies (so far) around the same age, being sixteen when Enola Holmes came out and eighteen upon the arrival of Enola Holmes 2.

In noticeable contrast to Lohan, Brown’s future beyond teen stardom seems far brighter (more like Emma Watson’s post-Harry Potter…at least Serious Roles-wise). Not just because she has that arcane aura of “British dignity” (ironic considering how undignified that country is), but because she’s grown up in a generation that has proven itself to be the antithesis of millennial youth values: drinking and clubbing. To boot, Brown also has the advantage of “setting the record straight” on social media that no millennial star ever had.

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Genna Rivieccio

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November 18, 2022
The Anti-Capitalist Undercurrent of Enola Holmes 2

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When last we left Enola Holmes (Millie Bobby Brown) in 2020, she had been effectively abandoned by her mother, Eudoria (Helena Bonham Carter). Yet it was hard to begrudge this freedom fighter the “abandonment” of her child when it was all in the name of the feminist cause. Even if that cause required a bit of explosive violence to get the job done. For, as Eudoria declared to Enola in a letter she left behind with some cash, “Our future is up to us.” Would that the same could be said for women of the working class, which is the demographic that Jack Thorne’s script (Thorne also penned the one for Enola Holmes) focuses on the most. Indeed, it’s the match girls who work in horrific factory conditions that drive the majority of the plot.

One match girl in particular, Bessie (Serrana Su-Ling Bliss), is the force that manages to prevent Enola from hanging up her detective’s hat entirely. For that’s just what she’s about to do when Bessie timidly walks into Enola’s erstwhile office. Which she can no longer afford as there are no clients willing to hire her, either because of misogyny (“Am I addressing the secretary?”) or ageism. As to the latter, she suffers the same kind of commentary as Doogie Howser might endure, with comments like, “You’re how old?” and “Stone the crows, you’re young.” In effect, no one trusts her or takes her seriously the way they do her overburdened-with-cases brother, Sherlock (Henry Cavill). Just another bane to living in 1800s-era London. Not to mention being in the thick of the Industrial Revolution’s after-effects. This including treating the worker like shit in the name of profit. Something the match girls know all about, as we see them subject themselves to the “new fever” called typhus in service to the work. Basically what happened during the onset of COVID-19, when some people got to stay at home and others didn’t have the same luxury of “staying safe” due to their class station.

Enola, who feels it must be kismet that Bessie found a months-old ad of hers floating around on the street, agrees to assist in the search for her “sister,” Sarah Chapman (Hannah Dodd), a seasoned match girl that’s taken Bessie in as though she’s family at the ramshackle where she also lives with another factory employee named Mae (Abbie Hern). Upon seeing Enola in her abode, Mae snaps, “We don’t need help from people like you,” alluding to the overt signs of Enola’s class. Despite the lack of a warm reception to her presence, Enola goes even deeper into the case by infiltrating the factory as a match girl. Working next to Bessie, she creates a diversion to get into the manager’s office whereupon she discovers missing pages ripped from a ledger. Enola is also quick to notice that Lyon’s matches have only recently turned from red tips to white ones. Surely not a coincidence. And while she feels she’s close to grasping at something, like Sherlock with his own current case, the puzzle pieces simply haven’t come together.

It doesn’t help matters that Enola still finds herself preoccupied with Lord Tewkesbury (Louis Partridge), who was at the center of the caper in the first film. The two continue to awkwardly flirt and semi-court, but it’s clear Enola is the one holding things back in the relationship thanks to the echoes of and flashbacks to the “independent woman”-oriented aphorisms her mother instilled within her.

Regarding the Tewkesbury romance, although some of the movie posters make Enola Holmes 2 come across as just another Jane Austen or Bridgerton knockoff, the majority of the movie speaks to the oppression of the worker. And yes, Sarah Chapman was a real person, even if not quite so model-esque as Hannah Dodd. Much like the Reform Bill featured in Enola Holmes was based on a real bill called the Third Reform Act. Director Harry Bradbeer (who also worked on the first film) and screenwriter Thorne are sure to use revisionist history to their advantage (though not so freely as someone like Ryan Murphy) in this edition of the Enola Holmes saga as well, with Chapman being at the center of a class war made all the more complex by the fact that she has secretly been dating William Lyon (Gabriel Tierney), the son of Lyon’s owner, Henry (David Westhead). But the web of deceit will turn out to be even more convoluted when Sherlock’s adversary in a battle of wits, Moriarty, enters into the equation.

Meanwhile, in the midst of her investigation, Enola has managed to get herself caught red-handed in the very manner from which the phrase originated: with blood all over her hands. This resulting in an arrest from the extremely smarmy Superintendent Grail (David Thewlis), who has no qualms choking Enola to attempt extracting the location of Sarah. When Enola insists she doesn’t know where Sarah is, Grail threatens, “Well if I can’t find it out from you, I’ll find it out from someone else. Like her sister, little Bessie.” Taking his meaning for the threat that it is, Enola replies, “She’s just a little girl.” Grail screams, “Oh, but that’s how it starts, Enola Holmes! With little girls like her, and you, and Sarah Chapman. Asking questions. Doubting those in charge, not seeing their protection for what it is, trying to tear it down.” Enola appears as though she might cry, but maintains a stiff upper lip (what all women must do if they want to “play by the rules” in a “man’s game”) as Grail continues, “Well it only takes one little flame to start a fire and my job is to keep crushing those bloody flames out.” Spoken like a beacon of upper management. And also a demagogue/dictator in the vein of Trump or Putin.

The question is later asked by a certain woman (who shall go unnamed to prevent from unveiling the mystery), “Why shouldn’t I be rewarded for what I can do? Where is my place in this…society?” Many women are still asking that question. Particularly those who must slave away as both a mother and a “paid employee” (as though the slog of motherhood isn’t worth something far more than the type of labor capitalism values). It is this dual role that catches the match girls of Enola Holmes 2 afraid to take a stand against their abuse in the final minutes of the film. An abuse so grotesque that they should automatically walk out without needing any convincing from Sarah.

But they do. Not just because the manager, a mouthpiece for the “seduction” of regular weekly earnings, shouts, “Think of your families, don’t do it girls. It’s not worth the risk.” And “the risk” he doesn’t want them to take is marching right out of the factory when Sarah urges them to protest with her against the dire conditions she’s unearthed. Informing them, as someone who has finally seen the light about the power of the worker, “It’s time for us to use the only thing we have: ourselves. It’s time for us to refuse to work. It’s time for us to tell ‘em no… I know you’re scared. I am too, but it’s the only power we have!” So here the viewer is given the expected, uplifting Act Three visualization of how “it only takes one little flame to start a fire” (to use that aforementioned match girl pun).

These, of course, are very pleasant thoughts to console oneself with as Iran arrests and/or puts to death the female protesters who have been called to action in the wake of Mahsa Amini’s own death at the hands of Iran’s “morality police” back in September. Suffice it to say, Enola Holmes 2 won’t be much welcomed in that country. Or really, any other. For they’re all mostly patriarchies that prefer to treat women and the worker like caged animals.

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Genna Rivieccio

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November 17, 2022