How ‘The Bold Type’ Upends the Stereotype of the Tyrant Director

I had everything to be, a priori, one more in the immensity of the catalog of this golden age of fiction series. A group of friends in their twenties, residents of New York, passionate about fashion and who share their new experiences in love, sex or work in each episode. we already saw it in Girls, sex in new york either gossip-girl, which also had the support of protagonists who would become a generational obsession, fodder for fashion editorials and the epicenter of red carpets. This is not the case of Katie Stevens, Aisha Dee and Meghann Fahy, very far from Sarah Jessica Parker or Lena Dunham in terms of repercussion and influence, but who, barely attracting the attention of the oracles of series, have managed to leave his imprint on television against all odds. A footprint that is already noticeable in Spain.

Four years after its premiere, back in June 2017, The Bold Type has managed to become one of the series of the moment in Spain. An atypical phenomenon, but increasingly common, taking into account the second chance that the platforms of streaming currently offer to fictions such as The Money Heist either toy boy —to speak of two cases of the national industry— of trying to captivate the public in its global showcase. In the case of this series about the daily life of three members of the editorial team of an American fashion and trends magazine, which was already shown on Amazon Prime Video, its arrival on Netflix Spain on March 1 was responsible for that a series with four seasons has been placed among the 10 most viewed on the platform.

The leading trio boasts a seamless friendship and solidarity. Photo: Netflix

Although it shares with recent Netflix hits like Emily in Paris its light, naive and escapist spirit —the standard of living of its protagonists in Manhattan is science fiction—, and it boasts an unoriginal dramatic proposal, The Bold Type He has based his particular success on turning the cliché on its head and speaking face to face with his millennial viewer. “Here are some wonderful jeans, now go climb a mountain with them,” reads one of the lines of her dialogue to address the inevitable marriage between feminism and the commercial ambitions of the fashion press. Sarah Watson’s addictive fiction addresses current issues such as Me Too, firearms control, sexual orientation, the privilege of the white population, Islamophobia or trolls of the internet, in addition to winking with various pop references. Everything, with the aroma of Nora Ephron’s romantic comedy and under the prism of the indelible sorority of its protagonists, perfect to become a refuge of warmth in times of pandemic anxiety.

The three coincide in the offices of Scarlet, the fictitious women’s magazine that serves as the setting and trigger for the plots. The publication is inspired by the American edition of the magazine cosmopolitan and one of its most legendary editors, Joanna Coles, serves as the series’ executive producer. Perhaps because of this direct influence, another of the findings of The Bold Type is her demystification of the ruthless, ruthless boss that worked so well for the Meryl Streep of The Devil Wears Prada. The director of Scarlet, Jacqueline Carlyle (played by Melora Hardin), is an example of strength, intelligence, reflection and female empowerment; a mentor who supports and encourages her young subordinates with an assertive and respectful speech. “I’m not a bitch boss. I’m a boss, bitch, ”says Carlyle, an oasis for the historical custom of fiction to bet on men to represent the archetype of the wise and generous professor. A character of the so-called “strong”, but who does not identify said adjective with typically masculine features, but instead embraces her femininity, as television referents such as Shonda Rhimes or Emilia Clarke have claimed so many times. Or has anyone ever used the expression “strong man” to define a character in a movie?

According to declared Coles, her biggest goal was to change the classic narrative of the dynamics between women in the world of work. “I am very proud of The Bold Type because, for example, we show three female leads who really are best friends in the office, they’re not trying to boycott each other. Usually on television and in the movies you see women competing with each other, in a permanent state of conflict, and that has not been my experience. A not at all subtle wink of her bet: the publishing company that owns the magazine is called Steinem. For the writer and journalist of The New Yorker Jia Tolentino, another of the reasons for the quiet success of the series, which will premiere its last season in the coming months, is how this mixture of fantasy with current plots has managed to represent “the alterations of our paths and ideals as a society while we walk” . Although academics have decided to set aside The Bold Type As far as recognitions during these years are concerned, you only have to take a look at its excellent popular approval on websites such as Rotten Tomatoes or IMDB to show its prestige among viewers. Spanish fans newly hooked on her can attest.

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The journalist Joanna Coles and her ‘alter ego’ in fiction, Melora Hardin. Photo: Getty



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How ‘The Bold Type’ Upends the Stereotype of the Tyrant Director


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