When writer Frances Denton of Photoplay visited Universal Studios in 1918, she described the work that Wilson was creating as “sob stuff” and was noticed as one of the female directors at Universal that created films centering around children. “The Game’s Up”, released in 1919, marked the end of Wilson's career. Historians noted Universal Studios for their feminist politics. Elsie Jane Wilson's case exemplifies how genre and gender, up until 1918,worked together to establish the institution's division of labor. Work and genres became gendered because the institution thought of gender in a particular manner. During this time, Universal was more hierarchal than collaborative. Moving Picture World began to identify such films as “woman’s features”, including Wilson's solo-directed films, separating “women” from the word “director”. This begins to exclude the women from the director's chair. Early press established her as “front rank” of directors. Nevertheless, few women directors sustained careers in the 1910s. Actors on Julian's pictures later commented on how she came to set every day, often lightening the mood with jokes at Julian's expense to relieve tension. In 1917, Wilson began advertising in "The Weekly" for members to take part in a café scene for her film "“The Game’s Up”". During the same time period, the Board of Health shut down many Los Angeles restaurants due to an influenza epidemic leaving cabaret showgirls out of work. Wilson and Universal was addressed with a mob of showgirls trying to take part in her film. In February 1918, Frances Denton wrote a story for "Photoplay" that addressed the normative femininity subordinate women in the name of equality. Denton presented Wilson as being a role model for the social standing of women. Moving Pictures World, a weekly film industry periodical, often published on Wilson and her efforts in the silent film era. The Moving Picture Weekly recorded Wilson as Bluebird's noted woman producer. Her work played upon gender roles. In one of the films directed by Wilson, "The Dream Lady" (1918), the plot highlights gender visibility and insisting that gender is a performance. Wilson survived her husband, Rupert Julian, who died in 1943. Elsie Jane Wilson died in Los Angeles, California, at the age of 79, and was buried in the Forest Lawn Memorial Park Cemetery in Glendale, California alongside her husband. Much of Wilson's personal work has been destroyed over the century though her efforts have not gone unnoticed by the “Women Film Pioneers Project” and various other cinematic references from the times.