Sherlock: The Abominable Bride

The leads fit Victorian London and stay white British. The noticeable choices are Molly dressing as a man to work as a pathologist and a secret network of women as the hidden power. Series-regular Janine appears, and the show keeps joking that Holmes and Watson act like a couple.

The show has clear equality lines such as "votes for women." Mycroft says women are right and men are wrong. Sherlock gives a speech about half the human race in a war and says the idea cannot be killed. Period sexist banter sets those lines up.

The whole case solution is a women's-rights revenge cult and gender-war story. Emelia is a martyr for equality, Mary is a suffragette, and male power is framed as something men should lose. A brief queer-bait line from Moriarty sits on top of that.

The story strongly critiques Victorian male entitlement, abusive marriage, and sidelined wives and landladies. Men's way of life is called wrong. It is not a broad attack on Christianity, capitalism, or whiteness.

Doyle's throwaway abominable wife becomes an original feminist murder society. Five Orange Pips Klan terror is reworked as purple-hooded women's-rights killers. Holmes and Watson themselves are not race-swapped or gender-swapped.

There was almost no organized anti-woke campaign. Debate was dominated by left and feminist claims of mansplaining, failed feminism, and bad Klan imagery. Only thin scattered gripes appeared about a man-hating or heavy-handed feminist slant.

Moffat has the strongest feminist-leaning writing reputation in the cached scores. Gatiss, Mackinnon, Doyle, and lower-scoring producers pull the overall creative record only into the mild-moderate range. The combined track record is not extreme.