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Enola Holmes (2020) - "Enola Is Sent To Finishing School" Movie Clip

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Cobra Kai was also seen by 50 million Netflix users.

Netflix revealed how many of its members checked out The Old Guard, Enola Holmes, Project Power and The Kissing Booth 2 in their first four weeks as part of their Q3 2020 earnings call.The Old Guard, starring Charlize Theron, was seen by 78 million members in its first four weeks, which is up from Netflix's estimate of 72 million views from earlier this year. Netflix is still counting a view as only watching two minutes of a movie, because that's "long enough to indicate the choice was intentional."

Netflix revealed its top ten biggest movie debuts around the time The Old Guard was released in July. Assuming Netflix isn't hiding any other impressive viewership numbers, then The Old Guard places as the fifth biggest launch for a Netflix movie with Enola Holmes and Project Power in sixth and seventh.

Have you seen Enola Holmes?

Enola Holmes is estimated to "reach" 76 million members over its first four weeks and Project Power was seen by 75 million Netflix members. The Kissing Booth 2 put up 66 million views, which would place it ninth on Netflix's list of top debuts. The documentary, American Murder: The Family Next Door, was checked out by 50 million Netflix users, which Netflix says is its biggest documentary launch so far.

Netflix also revealed some numbers for its TV shows. In its first four weeks, Ratched was seen by 48 million users, The Umbrella Academy received 43 million views, and Lucifer was viewed by 38 million Netflix users.

Netflix also bragged about its acquisition of Cobra Kai from YouTube. The first two seasons of the series were released on the service in September 2020 and eclipsed all of Netflix's original shows of the quarter to reach 50 million viewers in its first four weeks. Netflix announced a Season 3 premiere date for Cobra Kai earlier this month and gave the series an early Season 4 renewal.

Netflix continues to put out big releases in October with The Haunting of Bly Manor, The Trial of the Chicago 7, and Hubie Halloween. IGN's review of Hubie Halloween calls the Adam Sandler movie "aggressively stupid" but "occasionally endearing." Check out our Haunting of Bly Manor review and Bly Manor ending explained interview with the cast and creator, and scroll through the slideshow below to hunt down all the hidden ghosts we've found in The Haunting of Bly Manor:

Netflix's The Haunting of Bly Manor: All the Hidden Ghosts Revealed

Petey Oneto is a freelance writer for IGN.

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Netflix Reveals Viewership Numbers for Enola Holmes, Project Power - IGN

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Cobra Kai was also seen by 50 million Netflix users. Netflix revealed how many of its members checked out The Old Guard, Enola Holmes, Project Power and The Kissing Booth 2 in their first four weeks as part of their Q3 2020 earnings call.The Old Guard, starring Charlize Theron, was seen by 78 million members in its first four weeks, which is up from Netflix's estimate of 72 million views from earlier this year.

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There's nothing elementary about Enola Holmes, the youthful sleuth chasing clues and solving crimes in a new Netflix movie that also finds space for her famous brother Sherlock Holmes.

Streaming now and already spawning memes galore, the film's cast is led by Stranger Things star Millie Bobby Brown, along with Helena Bonham Carter, Henry Cavill, Louis Partridge and Killing Eve star Fiona Shaw. Brown and her sister Paige Brown also produced the movie after Paige spotted the original books.

Released on Netflix Sept. 23, Enola Holmes is based on a series of books by Nancy Springer, featuring the legendary detective Sherlock Holmes created by Victorian author Sir Arthur Conan Doyle. Fans are already loving the feisty young detective, although Conan Doyle's estate is less enamored and is suing the filmmakers. Read on for answers to all your questions about the cast, the locations where the movie was filmed, a connection to Phoebe Waller-Bridge, and the real-life feminist background to Enola Holmes' adventures.

Here's the trailer:

Who plays Sherlock Holmes?

None other than Henry Cavill, already known for playing square-jawed pop culture icons like Superman, Napoleon Solo, The Witcher and the mustache in that Mission: Impossible movie.

Who plays Lord Tewkesbury?

British actor Louis Partridge, 17, plays the finely coiffed vegetarian Viscount Tewkesbury, Marquess of Basilwether. He's previously appeared (briefly) in Paddington 2 and will be seen in Lost Girls, a new take on Peter Pan.

Who wrote Enola Holmes?

The Enola Holmes Mysteries by Nancy Springer are a series of young adult fiction books cluing you in to Enola's continuing adventures. There are six books in the series:

The film version is written by Jack Thorne, writer of The Aeronauts and various TV shows and plays. He wrote the stage play Harry Potter and the Cursed Child and adapted Philip Pullman's His Dark Materials fantasy novels for HBO and the BBC.

Is Enola Holmes in the original Sherlock Holmes novels?

Springer created Enola as a new way of looking at the well-known world of Sherlock Holmes. Holmes doesn't have a sister in the classic stories by Arthur Conan Doyle, although he does have a brother, Mycroft. The classic stories don't actually offer much information about the Holmes family, except they have country gentry and a French artist somewhere in their family tree.

Why does Enola talk to the camera?

Because it's fun, mainly. But it's worth noting that director Harry Bradbeer directed most of Emmy-winning series Fleabag, in which writer and star Phoebe Waller-Bridge continually breaks the fourth wall to talk directly to the audience. And guess who gets thanked in the credits of Enola Holmes? None other than Waller-Bridge herself.

Who plays Enola's mother?

That's delightfully singular British actor Helena Bonham Carter, the Oscar-winning star of Fight Club and also known for her stylishly gothic collaborations with director (and former partner) Tim Burton.

Who plays Mycroft Holmes?

The rather handsome Sam Claflin, a British actor known for playing Finnick Odair in The Hunger Games film series and real-life 1930s fascist Oswald Mosley in recent episodes of Peaky Blinders. The role of Mycroft has previously been played by Mark Gatiss in Sherlock, Rhys Ifans in Elementary and Christopher Lee and Stephen Fry on the big screen.

What's with the martial arts?

Enola visits a jiu-jitsu class, which is more historically accurate than you might think. Women campaigning for the vote often faced violent encounters with the police and male vigilantes, so suffragettes learned the Japanese martial art jiu-jitsu, which turns an attacker's force against them. They were taught by a jiu-jitsu martial arts expert named Edith Garrud, inspiring the character played by Susan Wokoma. In real life, a group of women dubbed The Bodyguard wrapped themselves in cardboard armor and used "Suffrajitsu" to defend speakers and campaigners in confrontations like 1914's "Battle of Glasgow."

What's the story behind the film's feminist themes?

The film has a strong theme of women teaching and supporting each other as they campaign for gender equality. That draws on the very real struggles of the time, as campaigners protested, fought and died for women's suffrage.

Set in 1884, the film nods to real-life suffragists and proto-feminists. We see a flyer for a suffragette meeting that mentions real-life trade unionist Amie Hicks, author Gwyneth Vaughan, and campaigner for the rights and eduction of children Margaret McMillan. Enola's mother also reads The Subjection of Women by philosopher, economist and member of Parliament John Stuart Mill, who along with his wife Harriet Taylor Mill demanded votes for women. He led the first debate on women's suffrage in parliament in 1867. The film portrays a narrow victory in the parliamentary vote, although 1884's Third Reform Act actually didn't include women. Women wouldn't vote for the first time until 1918, and then only a limited elite -- only in 1928 would the vote be granted to all women.

Why is Arthur Conan Doyle's estate suing Netflix?

In June 2020 the estate of Arthur Conan Doyle brought a lawsuit against Nancy Springer, Netflix and the producers of the Enola Holmes film. Having begun in 1887, most of Conan Doyle's Sherlock Holmes stories have now passed into the public domain -- which is why there are so many films about the character -- but he returned to the character in the 1920s, so the final story won't be in the public domain until 95 years after it was published in 1927. The lawsuit claims the Enola Holmes series infringes copyright on the more emotional and human version of Sherlock Holmes that Conan Doyle depicted in these later stories.

Where have I seen the villainous Linthorn before?

The "totally unmemorable" face of the bowler-hatted assassin belongs to Burn Gorman, a British character actor you may recognize from Torchwood, Pacific Rim and The Dark Knight Rises.

Where was Enola Holmes filmed?

Assisted by green screen and digital visual effects used in all period movies and TV shows these days, the film involves locations around Britain.

The overgrown Holmes home, Ferndell Hall, is represented by Benthall Hall in Shropshire, while West Horsley Place in East Sussex provided the interiors. Early in the film Enola meets and then boards trains at Arley and Kidderminster railway stations.

London locations include the Treasury Building in Westminster and the Royal Naval College in Greenwich, a sprawling and beautiful example of period architecture seen in countless films like Les Miserables, Sleepy Hollow and, er, Thor 2. It was also used in Guy Ritchie's films starring Robert Downey Jr as, you guessed it, Sherlock Holmes.

The Tewkesbury family's estate was filmed at Hatfield House in Hertfordshire, also seen in Oscar-winning film The Favourite and the music video for Jonas Brothers song Sucker.

New movie calendar for 2020 and 2021 following coronavirus delays

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Enola Holmes on Netflix: Everything you need to know about Sherlock's sister

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There's nothing elementary about Enola Holmes, the youthful sleuth chasing clues and solving crimes in a new Netflix movie that also finds space for her famous brother Sherlock Holmes. Streaming now and already spawning memes galore, the film's cast is led by Stranger Things star Millie Bobby Brown, along with Helena Bonham Carter, Henry Cavill, Louis Partridge and Killing Eve star Fiona Shaw.

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Understanding the Women's Movement in Enola Holmes

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Understanding the Women's Movement in Enola Holmes

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Geniuses are not born, runs Virginia Woolf's thesis in A Room of One's Own, but made entirely by the conditions of their birth. In one section, Woolf conjures up an imaginary sister for The Bard - 'Judith' Shakespeare - to illustrate the point that opportunity would have been denied if genius had been born female. Enola Holmes, a similar creation of author Nancy Springer in 2006, is everything Woolf would have wanted for Judith. Previously non-existent in the Sherlock Holmes canon, the young and sprightly Enola Holmes' story has now been adapted into a successful Netflix production.

Although the fate of the fictional sisters is markedly different, Enola Holmes suffers from the same blindspots as Woolf's pathbreaking polemic against the many invisible forms of theft of time, labour and energy that women experience. Given the same privileges and entitlements as their male counterparts, Woolf argues, women could be artists and geniuses, too. To aspire to any kind of creative endeavor, one must have money and a room of one's own. Both of which Enola Holmes - a white, moneyed, educated young woman with considerable social standing owing to her last name - is given almost by default.

Enola Holmes is raised by a single mother who, not keen on sending her to finishing schools and training her in the ways of young ladies, teaches her everything from jujitsu to cryptic word games to pyrotechnics. The home where Enola grows up is one in which her mother allows her to flourish in ways that Judith couldn't. In this context, Enola's life is the feminist dream, a freeing, enchanting and healing thing to behold. At first glance.
Related on The Swaddle: Transgender Kids' Brains Reflect Their Gender Identity in Structure and Function
The story follows the young Holmes outside the safety of her country home, where she encounters adventures very different from the ones she anticipated. Inadvertently, she ends up saving the day, changing the world, and winning handsome reward money to set herself up in London. So far so good. A running undercurrent through the film, however, is the question of women's suffrage, and the steadfastly apolitical nature of bonafide geniuses who can afford to - as the film's only black character, Edith, puts it - only be "obsessed with footprints and coaldust."

Which brings us to Edith. Sans famous surname, she runs a tearoom which doubles as a jujitsu studio for young women keen on joining the revolution, with the promise of universal franchise in the air. But how universal is the franchise? The reform bill at the heart of the film, set in 1884, granted the vote to propertied women over 30 - therefore, inherent in it was systemic racism that excluded most women of color. This, despite the fact that the movement constituted several women of color from within and abroad.

In arguably one of its most important moments, the film depicts Edith educating Sherlock Holmes on changing a world that doesn't suit him, even as it glosses over the fact that she is not one of the constituents the reform bill in question benefits. Their dialogue on politics, revolution, and the necessity of it all ends with an exasperated Edith stalking off for "customers to serve, cakes to bake." It's clear which women get a room of their own.

Revolution in the film is thus appropriated from working-class women of color, and extended instead to women who indulge in it for their beliefs or coming-of-age journeys, rather than survival. The story then leaves Edith by the wayside; she is someone with a lot more at stake, but whose interests are conflated with those of propertied white women, as far as the film is concerned. The history of women's suffrage in the UK is rife with many intertwining factors that complicate the neat, gift-wrapped idea of an underestimated girl detective incidentally winning universal franchise for the country overnight. The question of women's suffrage was not nearly as simple as a matter of deadlock in the House of Lords, as the film suggests.

Just as Woolf bemoans women taking up masculine pseudonyms to write fiction, the history of women's suffrage in England is afflicted by the prevalence of white-sounding names adopted by women of colour, thereby erasing them in a way that makes such a colourblind narrative possible. Edith, whose name is indistinguishable from her white counterparts, does the punishing work of fighting for universal franchise while trying to create for herself the material conditions to do so. Enola, who has inherited these conditions, gets to have a quirky name which stands out, while not having anything to do with the revolution at all; she only achieves success within it by accident. What does money and a room of one's own really achieve, then, other than an individualism that seldom breaks the patterns of exclusion which Woolf powerfully denounced? How must the Ediths of the world pursue a path like Enola's in a society that doesn't allow them the same access?
Related on The Swaddle: Transgender Kids' Brains Reflect Their Gender Identity in Structure and Function
Enola, with a childhood untrammeled by race, is free-spirited and spends her money on disguises and swapping clothes with street boys while chasing down murderous hitmen. Giving her polymath older brother a run for his money, Enola is all this and more because of how she was born. Edith, on the other hand, remains a footnote in history as well as in fiction, running a revolutionary tearoom that hosts ideas that she herself is excluded from. Flattening the differences in their circumstances has the unpleasant effect of proffering up Enola as a natural-born genius when, in fact, Edith had the life experience, the maturity, and none of the burdens of white womanhood and respectability to live up to. She is just saddled with a tearoom, instead of a room of her own - which makes all the difference.

Perhaps this might be reading too much into a film that admittedly made for great comfort viewing during a pandemic. Given the timing of its release, however - amid mass unemployment, inequality, death, disease, fascism, and the curtailment of civil liberties in major democracies - the cutesy, lite feminism of Enola Holmes is a balm that only soothes the pain of the current moment and numbs one to the vast and intractable systemic issues that this decade has laid bare. Rejuvenating as it is, it enters an already overflowing repository of such content that lulls us into dreamy contentment that it might just be a matter of a child prodigy with a famous surname traipsing along to get us out of this mess. While Enola Holmes is a lovely and bewitchingly charming spin-off of the beloved canon, it still chooses to tell a story in which massive social change is as easy as the right person having, well, a room of their own.

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In Enola Holmes, Feminism Is Appropriated From The Marginalized to Become the Privileged Woman's Adventure

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Geniuses are not born, runs Virginia Woolf's thesis in A Room of One's Own, but made entirely by the conditions of their birth. In one section, Woolf conjures up an imaginary sister for The Bard - 'Judith' Shakespeare - to illustrate the point that opportunity would have been denied if genius had been born female.

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Mycroft criticizing Enola for not wearing a hat and gloves.

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Enola Holmes discusses the theoretical frameworks of  Taste Public and gratification theory by exploring the 1884 feminism movement that occurs in the film as a media text. 

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Gans' Taste Publics is showcased through the different cultures in the film

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EXCLUSIVE: Nancy Springer's book series, The Enola Holmes Mysteries, posits a simple idea: rather than re-tread the ground of Arthur Conan Doyle's Sherlock Holmes stories for the thousandth time, what if Sherlock had a little sister whose adventures captured the spirit of the classic detective's investigations from the perspective of a character beaten down by her young age and the gender norms of the Victorian era? It is the surprisingly rich recipe for a series of six books and, now, a motion picture adaptation by director Harry Bradbeer ( Fleabag, Killing Eve), starring Millie Bobby Brown ( Stranger Things) in the title role.

The 16-year-old Brown also happens to be the film's originating producer. As she explained, over a Zoom conversation with Deadline and her director, it was a project born when she first read the book series with her older sister Paige and fell in love with the notion of playing Enola Holmes. That it crossed the finish line is a remarkable feat, considering at that point Brown had only completed her first steps on Stranger Things and she was still too young to play the character. But the film, produced by Legendary, is primed for global release tomorrow on Netflix, and in Bradbeer's hands it becomes a rare Young Adult blockbuster that seems certain to attract an audience.
DEADLINE: How did the Enola Holmes stories enter your lives?
MILLIE BOBBY BROWN: I read the books with my sister about five years ago, and we kind of looked at each other and I was like, "I want to play this." But I was 11, 12 years old, and the character was 16, so I always knew it would be more of a future ambition for me. I had only really been doing Stranger Things at that point, and I was about to do my first movie, Godzilla: King of the Monsters, but I was taken aback by the books. I just wasn't really focussed on making it just yet.

One day, I said to my dad, "I really think we have to make this film." He said okay, and he went and found a studio. We partnered with Legendary, because I'd been working with them on Godzilla. They always appreciated my voice, they valued it, which I always loved. I knew this was something I could really talk about with them, and feel comfortable with working with them, because of my past relationship.

So, after that, we found a writer, [Jack Thorne], and I remember we had this full-on phonecall about it while I was in my pool, talking about breaking the fourth wall, and all that. And then, obviously, we found our amazing director, Harry Bradbeer, and from there it really became Harry's story to bring to life. As soon as Harry got involved, he brought all his ideas to the table and I was probably ten times more excited just because he had so many cool ideas, and it was a real collaboration.

HARRY BRADBEER: Collaboration is the thing; collaboration is everything. With anything you do, you want to feel that you're going to have something to really dive into. And there was something about this script when it first arrived, this idea of a girl on a bicycle who turns to the camera and says, "Now, where do I begin?" There was something about the bravura of the person who says, "Right, you're coming with me. I'm going to take you by the scruff of the neck, and I'm in charge."

What I really love about a script, or about a story, is when I feel like we can be the storytellers in charge of this. We can take you somewhere different, unexpected. There was a tone inherent to this, and it was also very eccentric and particular and English, which obviously I recognized, being very English myself [laughs].

BROWN: As he says sitting in front of a full library. "I'm very English," as he sips his tea [laughs].

BRADBEER: Well, these aren't my books, they're my wife's, but there you are [laughs]. They make a good background.

I thought there was a way of making a film that was going to be energetic, eccentric, particular, but also very emotional. And I think that's one of the things I really leaned into with the script, because it was a fun romp when I first looked at it, but I thought there was more emotion to mine from it.

After reading the script, I then watched Millie in Stranger Things. I thought, Oh, if you can do that, you can do the lot. We could go down these directions together. We can really make it difficult for Enola. We can really make it painful.

The moment the two of us started talking about it, I remember sensing this could be terrific team-up. I've worked with a number of younger actors, and Millie, you didn't go to drama school, you just had an inherent instinct and a talent that I knew we could work with. Jack's writing was very helpful here, but just keeping it alive on set and sparkling, and a little improvisation. I remember we talked about that on that first call. Do you remember?

BROWN: Yes, we talked about improv a lot, and that's something I've never really been very comfortable with. Stranger Things is very scripted, and I usually stick to it because I never really feel I have anything to add. Eleven is Eleven. But when I did my first day of shooting on Enola, immediately I felt it was something I could really explore with.

I have to be really comfortable with a crew to be able to improvise, I think. I don't want to feel embarrassed. It's like a thing in my head. The first day on set, I did immediately feel so comfortable, and I felt like I could really explore those boundaries without judgement. It felt like a great creative space for us. I did a lot of improv in the end. I sometimes look at stuff and think, I did that in one take, so they must have used that exact take.

BRADBEER: The dialogue was written, but there are little lines. Like when you go into the boarding house and say, "It's lovely," in that tone. You just let the camera go. The only person it really killed was the focus puller, who was on the verge of a nervous breakdown the whole time [laughs]. He said, "She's like a gazelle, Harry. I can't keep up with her." I said, "I know, but look, I've got to make this straight right at the beginning. We're going to have to work it. And sometimes you won't pull focus on her, but I'll still love you. It's going to be all right." You had to find that energy.

The other thing that really appealed to me, and it was there in the original script but we brought it much further forward, was the debate about human rights, and about democracy. That debate was really going on, with the People's Representation Act, but the vote wasn't there for women yet. The politics of that time, I thought, well, let's bring that forward, so that even though it's an adventure film, it could be so much more.
DEADLINE: The way you're describing it - how everything came together such that you were just the right age to play the role at just the right time - that's such a rare thing to pull off.
BROWN: I know. It doesn't happen this way, because Hollywood is filled with empty promises. Everybody's like, "Yeah, we'll make it," and then it never happens. I think you could probably agree with me on that, Harry...

My dad, to be honest with you, was the one who said, "We're doing this," and he made it happen. One day he said, "Millie, we've got a writer." It was like, what? We're actually writing a script? And then I was in Australia, Zooming with Harry, and it was like, OK, this is happening. I was involved along the way, but I didn't think it would come together as soon and as easily. Everyone was on board from the off. Nobody was saying, "This shouldn't happen. We shouldn't do this." It was like, "We're doing this. It's happening."

It made it even more exciting for me, that when everybody heard about it they wanted to make it as much as I did. Our heads were all on the same page. Nobody was slowing down, nobody didn't know when they wanted to do it. Before we knew it we were building shooting schedules.
DEADLINE: This is also no small film. It crosses a huge landscape, a period landscape, and is full of action sequences and suspense. What did you do to make the world come alive?
BROWN: It was all Harry Bradbeer. I'm telling you now, on the set he knew every little prop. He'd be like, "Oh yeah, I put that in this morning, because I thought that that would be a nice little detail." It was a world that he created, with an amazing group behind him of course, but I would walk into these sets and I would feel like Enola. I never had to wonder or worry about the world around me, because it had already been so perfectly created.

BRADBEER: That's very sweet of you to say. Details are so important. Details are everything. I mean, I did a history degree, which I think helps. So, I knew that period well; I knew that behavior. I'd studied that period of democratic change quite closely.

The Victorian period was full of things. It was the first time when they had lots of little things. It was the first great consumer culture, and so there was a lot to play with. A film professor once said to me, "Harry, everything is a choice. Every single thing you see on that screen is a choice, every color, every book." And so, it stays with you. In the process of developing the script, you're researching it, and you do have to know it backwards and forwards and all the way around.

But Millie's saying really lovely things about me. What I thought was extraordinary about Millie... I soon forgot, or didn't really consider, how old she was, or how much experience that she had then. She had a lot of experience. Because I was just struck by a kind of conviction and bravery. I think bravery is the thing I said to you, Millie, in my card to you, was the thing I most remember. Because you just go for it. And I think that is one of the most important things in life, and it was very important in that character. And so, it gave me confidence. I thought that we could go anywhere, and she would grab each scene and have her own take on it.

DEADLINE: You're describing a headstrong person who knows what she wants and knows how to get it. Millie, that's true of Enola too. Did you see that point of connection?
BROWN: Well, I will say anyone that watches the film that knows me, so my friends and family, they say, "Oh my gosh, she's so much like you. Sometimes I'm looking at her and I feel like I'm watching you talking."

So, first of all, that is one of the things that I loved about Enola, is when I was reading the script, it felt like I was reading myself. She's got a very witty sense of humor, very British. And I've definitely got her sense of humor.

Her bravery in everything she does, I probably admired that, but for me, I don't think I'm as brave as her. I definitely throw myself into everything I do. Whether the outcome is good or bad, I do it, because I feel like I might as well, and that's kind of the way she does it. She takes risks. Everything has to be thought out, though. She's not as thought out as maybe her brother Sherlock, but everything has to be planned.

I also loved her heart. She's very vulnerable at times, and she does let herself be vulnerable, because in the back of her head, she's like, "No, I have to be strong. I have to be strong." But then it takes over and she really does let go. And that's the same as me. I love to be strong, but then I actually do, deep down, cry a lot. Harry knows. I'm an emotional girl. What can I say? And that is what I share with her.

We differ in many, many ways, but I will say that that is something that I loved about the book, is that I felt like I was reading about myself. I felt like it's a coming of age story, she's growing up in a crazy world around her, and I'm growing up in a crazy world around me, and it's about how we're finding ourselves. It felt like the same story that I was going on.
DEADLINE: The film definitely leans into Enola's vulnerability, and how that can be as much a source of strength as resolve or fight, or whatever you want to call it. I don't want to put anyone off by likening this film to Fleabag, which was obviously made for a much different audience, but I did feel some common ground there, Harry. The notion that embracing what on the surface might seem like flaws can actually be sources of strength.
BRADBEER: Yes, and that's been there in all of my work, really. It's all about being prepared to be vulnerable, and to open your heart. I'm fascinated by those characters, and as you say, I worked with another character [on Fleabag] who also addressed the camera, also had a very sharp shell which needed to be breached.

One of my favourite films is As Good As It Gets, with Jack Nicholson. Have you seen it Millie?
DEADLINE: There's also something to be said here for how modern this film, set in the Victorian era, feels. As you mentioned, Harry, it was a time of political upheaval, which I think is what we're going through now. Do you think the people of Millie's generation are showing the kind of resolve that Enola does in this film?
BROWN: No. I'll write it down.

BRADBEER: I love Jack Nicholson's character in that film. He starts off as such a hard-hearted man, and gradually he's broken down in his communication and dealing with others. And by being broken down, he finds his redemption, really.

[SPOILERS FOLLOW]

BRADBEER: Absolutely, and it fills one with great hope. The future is up to us-that's one of the last lines in the film, and it's still one of the key messages. It wasn't there in the original script, but we found it in the process, and when we found it, I realized we'd found the hope of the movie. I don't need convincing of the fact that there are extraordinary young people out there who are giving me great hope in the future. But what we need is also some clear and decent sort of morals of good behavior. As well as that energy, we've got to embrace simple ideas of love and acceptance, which is hard to come by sometimes, particularly with things like gender issues.

So, when I wrote, "The future is up to us," I wanted to leave it open-ended. We're not saying everything's going to be fine. We're not saying Enola's going to be fine. In fact, she bicycles into a London that's going to damage her, and beat her up, and things are still going to be difficult for her. But what we're saying is, it's your responsibility. Don't rely on others. Think for yourself and do the right thing.

BROWN: To kind of touch on that idea, "The future is up to us," I do feel ours is an amazing generation, and I know that many of my friends-and especially the kids on Stranger Things -we're all very strong people and we haven't necessarily had the most amazing role models in the generation above us, but we have had to find our own role models. And for me, I think Audrey Hepburn, and everything she ever did, really, I'm kind of obsessed with. So, we've all found people from previous generations to look up to and admire.

I feel like our generation is specifically formed of very open-minded people, and we're classed as new thinkers. We're trying to be accepting of new things. For me, I love meeting new people, learning more about the world, and I've never been someone that's incredibly into the idea of children sitting there and being quiet. All of my friends, we're vocal about the things we feel passionate about, and that's ultimately what's going to change the world, I think.
DEADLINE: To wrap up then, there are future Enola Holmes books that have yet to be explored. Do you think you might reunite for a sequel?
Look at the amazing people we have around us. Greta Thunberg. She's not sitting there listening. She's doing something about it. For me, in the areas where I feel like I want to show my voice, I will do it. I don't want to sit here and listen. I don't want to watch it on the news. I want to go out there and help change it.

That's what our generation is about, and that's what our film is about. She's not going to sit there and listen to people trying to find her mother. She's going to do it herself. "Our future is up to us," is something we're all living by right now. It's a message I'll live by for the rest of my life, because if we don't do anything about our world now, we're going to have bigger complications in the future. Take Malala Yousafzai, for instance. She's an amazing activist and I believe she's living by that phrase, because she's speaking up for something she feels passionate about. The things that you want to see change in, go and do it. This is what this film stands by. And it has a really, really big message.

BRADBEER: Well, I mean... Given half a chance, yeah [laughs]. That decision has got to be made, but I think it would be really exciting.

BROWN: Yeah, there's more of the story to be told. The story isn't over yet. She isn't grown up, there's no conclusion. I think she'll forever be someone who is always evolving, but there's definitely more to be shown on screen. Harry and I loved working together, so this has to happen. Harry, we've got to send an email...

BRADBEER: Yeah, absolutely.

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Millie Bobby Brown & Harry Bradbeer On Crafting A Modern Superheroine In The Victorian-Era 'Enola Holmes' - Q&A

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EXCLUSIVE: Nancy Springer's book series, The Enola Holmes Mysteries, posits a simple idea: rather than re-tread the ground of Arthur Conan Doyle's Sherlock Holmes stories for the thousandth time, what if Sherlock had a little sister whose adventures captured the spirit of the classic detective's investigations from the perspective of a character beaten down by her young age and the gender norms of the Victorian era?

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The number of things Sherlock Holmes has failed to deduce about the world could fill a book. In fact, considering that his little-known sister, Enola Holmes, is - according to Nancy Springer's apocrypha - significantly smarter and more worldly than he, perhaps the things Sherlock fails to deduce could fill just as many books as the young-adult author has penned on the fictional brilliant young woman few people recognize. (That'd be six.)

In the new Netflix movie Enola Holmes, Millie Bobby Brown brings the titular teenage sister to wider acclaim in a streaming story that feels aimed at people who like A Series of Unfortunate Events but would prefer something slightly less funny and with only one orphan (who is not exactly an orphan). In both the film and the detective novels, Enola is the similarly gifted youngest sibling of Mycroft and Sherlock, but because she's a young woman living at the tail end of the Victorian era, she's forced to navigate sexism and prejudice the likes of which her brothers would never understand. In this way, Enola's story is a rallying cry for young people looking for non-male detectives who aren't named Nancy Drew. Beyond that, however, is a richly specific tale involving missing mothers, ciphers, and anti-corset diatribes. Still asking yourself, "How did I not know Sherlock had a sister?" Fair enough. As the Baker Street resident himself says, "I cannot make bricks without clay! Give me data!" Here are the essential details about Enola and how she fits into the larger world of her famous cokehead older brother.

Enola is not a character in Sir Arthur Conan Doyle's canon.

In the original 56 short stories and four novels written by Arthur Conan Doyle, Sherlock Holmes has only one sibling: an older brother, Mycroft, who appears only in "The Greek Interpreter," "The Bruce-Partington Plans," and "The Final Problem," among the original stories. The idea that Sherlock and Mycroft have a younger sister - in this case, Enola, a finishing-school defector and budding detective in her own right, who specializes in missing-persons cases - is entirely the creation of Nancy Springer, who began publishing the Enola Holmes novels in 2006, starting with The Case of the Missing Marquess.

The possibility of a secret, third Holmes sibling is the stuff of very old fanfiction.

While Enola herself is Springer's creation, the old-school fan theory that Mycroft and Sherlock have a secret sibling is almost old as the fandom itself. Though Doyle never used the name Sherrinford Holmes in print, it is reportedly a name he considered for his fictional detective before settling on Sherlock. William S. Baring-Gould's book Sherlock Holmes of Baker Street asserts something different: that Mycroft and Sherlock may have an older brother named Sherrinford, who manages their family's country estate. That theory was evolved on the BBC series Sherlock, when the name Sherrinford was appropriated to describe a prison that contained Eurus Holmes, who, in the fourth season of that series (2017), is revealed to be Sherlock and Mycroft's secret sister. That said, because the Springer book was published in 2006, Enola predates the Eurus season of Sherlock by nine years, making Enola the original secret Holmes sister. Like Baring-Gould's super-old fan theory, Enola and her mother (Helena Bonham Carter) occupy the Holmes family's country estate, which in Enola Holmes is called Ferndell.

Millie Bobby Brown's Enola is pretty faithful to the Enola of Springer's books - with two big changes.

At the beginning of Springer's first Enola Holmes book, The Case of the Missing Marquess, we learn that Enola's mother has gone missing on the eve of her daughter's 14th birthday. In the movie, her age is changed to 16 (probably because Brown is a 16-year-old in real life). As far as Enola's smarts and general detecting skills go, the books and the movie give us pretty much the same character. But because this is a movie, and movie things have to happen in it, there's one slightly more noticeable change: In the film, Enola is trained to be a fighter by her mother and is pretty well versed in a variety of martial arts. It's not that Book Enola can't handle herself, but a penchant for battle is definitely not a defining aspect of her character. Meanwhile, Movie Enola says, "I was taught to watch and listen. I was taught to fight. This is what my mother made me for."

Overemphasizing Holmesian characters' fighting skills is nothing new for film adaptations set in this beloved Victorian universe. Although Sherlock himself was noted for his ability to box some ruffians ("The Solitary Cyclist") and wrestle people using the martial art Doyle calls "baritsu" ("The Empty House"), it's not as though he was beating up bad guys Batman-style in every short story. And yet in the 2009 movie Sherlock Holmes, that's exactly what Robert Downey Jr.'s Sherlock seems to do. Brown's Enola doesn't go full-on Downey with the violence, but her Enola is much more physically active than the character is in Springer's books.

Enola's relationship with Sherlock is much cozier than it is in Springer's books.

Although both Mycroft and Sherlock eventually come to view Enola as an equal in Springer's sixth book, The Case of the Gypsy Good-bye, at the start of the first novel, Sherlock is mostly dismissive of his sister. In this way, Springer's books take a somewhat one-note approach to Sherlock's character, casting him mainly as sexist and ignorant of women in the extreme. At the end of the first Springer book, Sherlock says this of Enola: "Thoughtful and imaginative, perhaps, but certainly no stranger to the weakness, the irrationality, of her sex."

But Henry Cavill's Sherlock in Enola Holmes is nothing like this. From the very beginning, he is supportive of Enola and attempts to help her where he can throughout the story. In the majority of the Springer books, Sherlock certainly likes Enola more than his older brother Mycroft, but their overall relationship is much chillier. In contrast, Cavill's Sherlock acts the way any big brother in a Victorian period piece might; he's aloof and brooding, but he's basically a good person. Cavill's Sherlock isn't a terrible interpretation of the character from the books (either Doyle's or Springer's), but he is a little more low-key than most onscreen Sherlocks. He smiles a lot, he barely smokes, he never mentions shooting up his "seven-per-cent solution" of cocaine, and his best friend, Watson, is nowhere in sight. In Springer's novels, Dr. Watson is very much around. In The Case of the Bizarre Bouquets, Enola even gives Watson an assist. But in the end, the Enola Holmes book series takes five installments for Sherlock and his sister to make peace. In the movie, their estrangement happens mostly off-camera, and from the moment Cavill saunters in, you know he's going to be a nice Sherlock.

And it works, sure. But perhaps the most arresting thing about Nancy Springer's books is that Sherlock Holmes is perceived - at least for a good chunk of the series - as kind of a bad guy, and Enola stands in great contrast to him. In Enola Holmes, the Netflix movie, he's mostly just a woke, Victorian Superman. Which, in a film that isn't about Sherlock anyway, is probably fine.

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Who Is Enola Holmes? Everything You Need to Know About Sherlock's Sister

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The number of things Sherlock Holmes has failed to deduce about the world could fill a book. In fact, considering that his little-known sister, Enola Holmes, is - according to Nancy Springer's apocrypha - significantly smarter and more worldly than he, perhaps the things Sherlock fails to deduce could fill just as many books as the young-adult author has penned on the fictional brilliant young woman few people recognize.

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Whether it's purely coincidental, or because of established relationships, actors who have appeared in one Netflix original production often appear in others. That certainly is the case with Enola Holmes, a spirited period adventure that brings together the likes of Stranger Things' Millie Bobby Brown, The Witcher's Henry Cavill, and The Queen's Helena Bonham Carter.

Based on the first book in a young adult series by Nancy Springer, Enola Holmes invents a third Holmes sibling - to join Sir Arthur Conan Doyle's iconic Sherlock (Cavill) and Mycroft (Sam Claflin) - the laatlammetjie Enola (Bobby Brown).

With a 20-year age gap between herself and her brothers, Enola has received an unconventional upbringing by her mother Eudoria (Bonham Carter) on the remote family estate. She reads everything in the manor library, learns scientific theory, plays chess and even practices jiu jitsu. On the morning of her 16 th birthday, Enola wakes to find her mother gone, leaving only a cryptic cipher puzzle. Our heroine sets out into the world for the first time to solve the mystery around the disappearance, but finds herself entwined in the search for a missing teenage lord (Louis Partridge), and has to contend with her brothers' attempts to lock her away in a finishing school until she has been moulded into a respectable Victorian lady.

That really is the problem with Enola Holmes. There is A LOT going on, and even though the film moves along as swiftly as the boisterous, fourth wall-breaking Enola, the result is a movie that still feels too long at over 2 hours. Enola Holmes would have benefited from losing, or demoting, at least one of its equally weighted plot branches, and shaving off twenty minutes.

This isn't to say there aren't pleasures to be had. Primarily, there's the top-notch British cast across the board. Enola is a fantastic role for Millie Bobby Brown, proving she is capable of playing more than intense outsiders like Eleven. Her charismatic and involving performance as the resourceful Enola once again makes a strong case for her fan casting as a young Leia Organa.

Meanwhile, Claflin is spot-on as the uptight, politically ambitious Mycroft, while Cavill presents a fresh take on Sherlock Holmes, portraying the sleuth as more socially integrated than typically depicted. Personally I would have preferred Cavill's Sherlock to show a few more quirks: a big deal is made in the film about his emotional detachment and disinterest, although there is little evidence of it. However, there is something about treating Sherlock Holmes as a celebrated Marty Stu who still remains several steps behind his brilliant baby sister.

That brings us to the question of feminism in Enola Holmes. Some people got very upset by this publicity stunt for the film, which they saw as trampling on men's legacies to uplift women. Feminist themes are obviously present in Enola Holmes, but they're not delivered in a heavy-handed manner. In fact there's a kind of subversive feminism present where Enola consciously uses repressive Victorian women's dress and behaviour expectations to achieve her goals. Just as often, though, Enola defies social norms, and she finds her male equivalent in Partridge's Viscount Twekesbury, a young man whose greatest passion is botany.

It's worth mentioning that even the most literally militant feminists in Enola Holmes are far from furious misandrists. One of the most memorable moments in the film is a quiet exchange between Sherlock and a woman character who points out that the detective's greatest privilege is that he can be indifferent to political change.

Again, though, Enola Holmes isn't trying to hammer home a message. In fact, at times it feels like it's trying a little too hard to be quirky and breezy instead, sidestepping certain historical realities, like how easily a genteel young woman could move around 19 th Century London without a chaperone. The film does still work, though, as an inspiring and engaging tale for young girls watching.

And now that the plot foundation has been laid, Enola's future on-screen adventures should be able to proceed in a manner that is both more focused and fun.

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It's too long and too split in its focus, but Enola Holmes is a great showcase for the talents and charm of Millie Bobby Brown, who is in turn supported by a British cast stuffed with recognisable faces. As a first step, it's wobbly, but the film presents a genuinely fresh take on Sherlock Holmes lore, and future mystery-solving adventures in its universe are welcome.

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Enola Holmes review - Proving a woman's place is as a Holmes

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Sherlock Holmes's younger sister, as well as the talents of Millie Bobby Brown, take the spotlight in Enola Holmes, the latest Netflix film release. A further drawcard is Henry Cavill, offering a completely new take on the iconic fictional detective.

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Women's Movement , independence challenging  man's power and privilege.  

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Women's Movement , independence challenging  man's power and privilege.  

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Enola Holmes (2020) | Henry Cavill Scene (Part 5)

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Enola and Tweaksburry adapting to the culture 

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Enola and Tweaksburry adapting to the culture 

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They both dressed as low culture as a means to be disused and live freely.