Further, it can be inferred that a progression of character adaptations would follow a progression of fan values, although some argue as to whether media acts as a mirror or as a creator of culture (Ceulemans and Fauconnier, 5). In addition, it has been noted that “The television industry today is far more likely to reward fan interests … [and] and “Women’s interests are being more and more factored into the design and structure of the programs” (Jenkins, xxxi). Both the canon and the adaptations of Sherlock Holmes examined here point to the former and reflect what appears to be an increased call for female characters. We can in fact follow an increasing female presence in adaptations through time, from the masculine-dominated canon, where females were only ever either distraught clients or barely mentioned presences (possibly with the exception of Irene Adler, who, despite being “the woman” appears in only one story (Doyle, Annotated, 5-40). Therefore over time, we see a progression from brief mentions in the canon; to a main, but contextually insignificant, character in the Werker 1939 film series; to an emotionally connected character in the Granada 1984 TV series; and finally to the most memorable and involved characterizations in the BBC adaptation of 2010. In this way the adaptations of Sherlock Holmes act as a conduit for the values of that time. Mrs. Hudson in the BBC Sherlock, therefore reflects the values of a modern era: “If we look at the current series with Sherlock we realize how much gender equality is important in this era. We see the progress of having women only as minor characters to nearly being major characters” (Kyncl, 45).

            However despite this trend, female characters continue to be sidelined in popular media, and Mrs. Hudson is no different. Women—and particularly mid-aged and older women—are underrepresented in film and television (Smith et. al. 2015). This holds true in Sherlock media generally, although with the noted amelioration over time from the original Victorian canon. It is interesting to note the mode in which female characters in the BBC Sherlock have been treated though. “The narrative [of Sherlock] safely contains each of the primary female characters: Molly Hooper, Mrs. Hudson, Sally Donovan, Mary Morstan, and Irene [Adler] each act within the boundaries of specific spaces” (Katzir, 109). This may be an unconscious maintenance of the trends in the canon, in which Lesli J. Favor argues that “Conan Doyle devises plots that depend upon women who are controlled, contained, and marginalized” (Katzir, 109). It may also be a conscious mimicry in the case of the BBC Sherlock, the writers of which had intended never to add main characters to the series who did not appear in some capacity in canon. This rule was broken with the addition of the character of Molly Hooper as a main character in the second season after a season with her as a recurring character, due apparently to the impressive acting of Louise Brealey, who plays Hooper. However, Mrs. Hudson is the only female character in the show who was brought on as a main character at the inception and has remained for the entire series (in contrast to the three male main characters who have done the same: Sherlock Holmes, John Watson, and Greg Lestrade) (“List of Sherlock characters”). Interestingly though, she still occupies a role that manages to be curtailed. In fact, while “Males overwhelmingly [occupy] dominant, active, and central character roles … the portrayal of women as housewife/mother [is] one of two dominant female images.” (The other image is, perhaps unsurprisingly, if depressingly, that of the young, sexualized woman) (Smith et al. 2015, 25). Additionally according to the same German study in 1975 that found the above, “Women primarily appear on TV in a narrow social context of interpersonal relationships” (Smith et al. 2015, 25).