Where Are All the Women Sherlocks on TV?
Courtesy of Ollie Upton/Hartswood Films & MASTERPIECE
Sherlock Holmes and Elliot Alderson have more in common than you’d think—both are exceptionally introverted, both are protagonists of acclaimed TV series and both are men.
Whether it’s in the role of the antisocial detective or the awkward hacker, the trope of the reclusive male genius is now deeply ingrained in our TV consciousness. Mirroring certain introverts’ actual traits, including withdrawnness and discomfort around large groups of people, characters such as Benedict Cumberbatch’s Holmes, in Sherlock and Rami Malek’s Elliot, in Mr. Robot, succeed on television where they would most likely fail in real life—coming off as smart and sympathetic for large audiences of people.
But women on TV rarely get the same permission to be reclusive, antisocial geniuses. For one thing, they’re much harder to find.
On New Year’s Day, more than 8 million people tuned in to watch the premiere of Sherlock’s fourth season. In the modern retelling of Arthur Conan Doyle’s classic series, the British detective is a classic introvert—he even panics and screams at a ringing doorbell in Season One’s “A Scandal in Belgravia.” (Not to be confused with total recluses, introverts form social connections, but prefer to spend long periods of time alone and feel uncomfortable at large social gatherings.) With the exception of his partner, John Watson (Martin Freeman), and a very small number of others, most people only stand in Sherlock’s crime-solving way.
And yet, captivated viewers are willing to forgive Sherlock for talking about Watson’s “barely used” brain in “The Hounds of the Baskervilles,” or saying that Philip Anderson (Jonathan Aris) lowers “the IQ of the entire room” in “A Study in Pink.” In fact, they often view the caustic remarks as a sign of his razor-sharp acumen and boredom with ordinary ways of thinking.
Characters such as Mad Men’s Peggy Olson (Elisabeth Moss) and Suzanne “Crazy Eyes” Warren (Uzo Aduba), from Orange Is The New Black, do display certain introverted characteristics, but each grows increasingly social as their respective series progress. In Mad Men’s early seasons, Peggy has trouble connecting with other people at the office; when other women rush to try on lipstick samples in Season One’s “Babylon,” she sits by herself and watches. Later, though, Peggy loses many of her introverted characteristics—she starts going to beatnik parties with her friend, Joyce (Zosia Mamet) in Season Four’s “The Rejected” and makes advances at a stranger in a movie theater in Season Five’s “Far Away Places.”
In OITNB’s Season Two entry, “Hugs Can Be Deceiving,” we find out that Suzanne was once run off stage while singing a solo at her high school graduation—a precursor, perhaps, to her preference for mopping Litchfield’s bathrooms by herself in the middle of the night. After Suzanne finds a core group of friends among inmates like Poussey Washington (Samira Wiley) and Taystee Jefferson (Danielle Brooks), however, she starts participating in the prison’s drama classes to get over her social anxiety.
While one could convincingly argue that such changes reflect introverts’ tendency to adapt to a highly social society, the first episode of Sherlock’s fourth season has scenes of the detective distractedly texting on his phone during the christening of Watson’s daughter, Rosie. Both in TV and in life, there’s a double standard that leads to introversion being romanticized in one gender and viewed as a character flaw in the other.