(SeaPRwire) – By: Logan Pierce
Most big-budget franchise films play it safe. They recycle tired good vs. evil tropes to keep ticket sales steady. But Enola Holmes 3 doesn’t just lean into genre tropes. It recontextualizes one of literature’s most iconic villains through a modern, politically charged lens. Sharon Duncan-Brewster’s Moriarty isn’t a one-note villain. She’s a vessel for unpacking centuries of colonial harm. This choice shifts the entire franchise’s core mission. It turns a cozy detective story into a quiet critique of imperial power.
Enola Holmes 3 is set when Malta was still a British colony. Enola’s planned wedding to Tewkesbury is completely derailed. Sherlock Holmes and Tewkesbury’s mother are kidnapped on the big day. The mastermind behind the abductions is Professor Moriarty, operating under the alias Adeline Rathe. She personally influenced the choice of Malta as the wedding venue. She did this to lure Enola into solving a decades-old mystery. The mystery centers on stolen Afghan treasure from the Battle of Khost. British military officials and local elites covered up the loot for years.
Moriarty’s goal isn’t just to steal the hidden treasure. She wants to expose the corrupt officials who took it. She also plans to hand the loot to Maltese freedom fighters. The ringleaders include Brigadier Sampson, Tewkesbury’s godfather. He worked with the British governor to cover up the stolen treasure for decades. Moriarty is arrested by the film’s climax. But her actions spark tangible change. The corrupt British officers are jailed. The Maltese rebels get the treasure to support their independence push. Real Malta gained independence 70 years after the film’s setting.
Hollywood has long relied on safe, apolitical storytelling for big franchises. Most films stick to formulaic plots with no real-world stakes. But the Enola Holmes series has shifted course since the second entry. Enola Holmes 3 doubles down on that, tying its mystery to colonial exploitation. This isn’t a cheap gimmick. It’s a deliberate choice to resonate with modern audiences. Streaming platforms like Netflix are pushing for this kind of content. They know viewers crave stories that have real, meaningful stakes beyond simple entertainment. This pivot could set a new standard for big-budget streaming franchises.
The choice to cast Sharon Duncan-Brewster as Moriarty is a masterstroke. Most iterations of the character are white, male, and one-note. Casting a Black woman as the villain recontextualizes her motives. It frames her rage as a response to systemic harm. This choice makes her actions feel more justified, even when she uses violent tactics. It forces viewers to question the line between good and evil. The franchise isn’t just telling a detective story. It’s asking audiences to confront uncomfortable truths about history.
This franchise’s pivot to political storytelling will force every major streaming platform to reevaluate how they greenlight future franchise films.
Author bio: Logan Pierce, independent business researcher and corporate governance writer focused on media industry trends for Medium.