This book traces the intertextual genealogy behind Netflix's new series Ripley, directed by Steve Zaillian, and offers a critical examination of Tom Ripley's enduring appeal across different media. As the series quickly climbs Netflix's international charts, this volume provides a timely and insightful contribution to the Ripleyverse, exploring the character's complex moral and sexual dimensions in today's cultural context. McEntee investigates Ripley's role within the televisual antihero genre, engaging with theories from Jason Mittell's Complex TV and Margrethe Bruun Vaage's The Antihero in American Television. While Andrew Scott's portrayal of Ripley aims to generate empathy, this book contends that traditional frameworks for understanding antiheroes are insufficient. Instead, it introduces Eric Leake's notion of "difficult empathy" as a more appropriate model for analyzing Scott's Ripley, offering a fresh perspective on the character's moral ambiguity. This contrasts sharply with Anthony Minghella's 1999 adaptation, where Matt Damon's Ripley elicited a more straightforward emotional response. Readers will discover a nuanced discussion of how Ripley both adheres to and subverts the conventions of the antihero genre and comments self-reflexively on the process of adaptation. The book invites scholars and students of television studies, film, and literature to engage with these themes, providing a rich resource for understanding the evolving landscape of media narratives. Whether you are a scholar of media studies or a curious reader intrigued by the complexities of modern narratives, this book promises to deepen your understanding of the cultural significance of Tom Ripley's latest iteration.

Autorentext

Joy McEntee is an adjunct Senior Lecturer at the University of Adelaide, Australia. She is the coeditor of Kubrick and Race (2025) and author of Stanley Kubrick and Women (forthcoming). Her work has also been published in a number of journals, including Senses of Cinema, Film Criticism, Camera Obscura, Adaptation, and the Journal of Adaptation in Film and Performance.