Director Harry Bradbeer explicitly described the story as an 'inspiring feminist tale' shifting from 'I' to 'we' and emphasizing union and courage to stand up, with the narrative requiring Enola to rely on collective action among women rather than solo heroism. Casting includes race and gender swaps, most notably Sharon Duncan-Brewster as Mira Troy/Moriarty—the traditionally white male nemesis recast as a Black woman driven by bitterness over denied opportunities due to race, gender, and class—alongside Adeel Akhtar as Inspector Lestrade and Susie Wokoma in supporting roles that insert diversity into the historical setting.

These choices, combined with overt critiques of chauvinism and child labor framed through a progressive lens, elevate identity-based systemic oppression as a core conflict driver beyond organic genre conventions. Audience reception shows a clear critic-audience divide, with backlash on platforms highlighting the Moriarty reinvention and 'agenda-ridden' elements as prioritizing messaging over fidelity to source lore.