For whatever reason, Sherlock Holmes has seen something of an unexpected cultural resurgence recently. Of course, one could argue that the pipe-smoking gumshoe is ubiquitously present in some form or another as his image resonates well beyond the pages in which Arthur Conan Doyle originally encapsulated and explored his identity decade in and decade out; it seems merely a matter, instead, of how present he is in mainstream forms of popular culture at any given moment. That Sherlock Holmes is an object of the public domain only provides greater opportunities for his likeness to arise in myriad ways across media. But what’s unique about the recent incarnations of Holmes is the great variety of forms he takes within a variety of representational modes: the various Holmses we’ve seen recently are not only very different, but distinct in a way that function in conversation, and even in conflict, with each other. The only certainty that arises out of this variety of Holmes characters is that there is no one certain, dominant interpretation of the character, but rather many that audiences can choose from. That several incarnations of Holmes have arisen in popular media almost simultaneously does not point to a broad need in our culture relating to some intrinsic notion of who Holmes is “supposed to be.” Instead these examples are, to varying degrees, different niche versions of the character, each interpretation responding to some specific need.