In today’s article I would like to write about on whether there is a crisis in the religious representation in contemporary TV western and specifically, because this topic could be very extensive, I wanted to focus on the figure of the priest, which is still a representation of God on earth. This figure, that of the priest, is reformulated as we have known it up to now: we start to talk about priests who fall ill, who become blind and die, either by the action of others or by divine grace, or to go a step further, they disappear from the story.
Phoebe Waller-Bridge is the undisputed queen of Fleabag, a little British gem broadcasted by the BBC between 2016 and 2019. In it, Waller puts herself in the shoes of a thirty-something woman trying to get her life back after the death of her best friend Boo.
Her peculiar way of seeing the world makes the comedy a paradigm of the new ‘post-modern’ woman, as defined by Paula Rabinowitz. Far from victimizing women, Fleabag is a statement that seeks to empower women to claim their (sexual) freedom.
Joanne Froggatt and Ioan Gruffud star in Liar, the new Sundance TV production about the alleged rape of Laura, a secondary school teacher at the hands of a prestigious neurosurgeon. The drama was released on September 27 and is now available in the HBO Spain catalog. A story full of enigmas, foreseeable twits of the script and a bet on the deceit as the main leitmotiv of the plot. But the most interesting thing about Liar is not its contribution to the genre of suspense but its strong feminist component that we address in this article, taking the author Virgine Despentes as the main referent of the nowadays feminism.