Sisterhood and gender intersectionality in American ction:
The Bold
Type
of a case study
Sororidad e interseccionalidad de género en la cción estadounidense: The Bold
Type como caso de estudio
doxa.comunicación |
nº 41, pp. 285-305
| 285
July-December of 2025
ISSN: 1696-019X / e-ISSN: 2386-3978
How to cite this article:
Morejón-Llamas, N. (2025). Sisterhood and gender intersectionality in American ction:
e Bold Type
of a case study.
Doxa Comunicación
,
41, pp. 285-305.
https://doi.org/10.31921/doxacom.n41a2217
Noemí Morejón-Llamas.
PhD in Journalism and a master’s degree in Institutional and Political Communication from
the University of Seville. Accredited by ANECA as an Assistant Professor, she currently works as an Associate Professor
(Assistant Professor with a PhD) in the Department of Communication and Education at Loyola Andalucía University,
where she teaches courses on Journalistic Genres and History of Journalism. She has previously taught at San Isidoro
University Centre (Pablo de Olavide University) and worked at the Audiovisual Council of Andalusia. She was awarded a
scholarship by the Senate of Spain to train in institutional and political communication during 2013-2014. Her research
focuses on online social movements, political and institutional communication on social media, scientic and political
misinformation, and the representation of women in the media and audiovisual ction.
Loyola Andalusia University, Spain
[email protected]
ORCID:
0000-0001-6927-1931
is content is published under Creative Commons Attribution Non-Commercial License. International License CC BY-NC 4.0
Received: 28/02/2024 - Accepted: 18/07/2024 - Early access: 09/09/2024 - Published: 01/07/2025
Recibido: 28/02/2024 - Aceptado: 18/07/2024 - En edición: 09/09/2024 - Publicado: 01/07/2025
Abstract:
Video-on-demand (VOD) platforms revalue the production of ctional
series, creating new identities that converge with the sexual diversity
and multiculturalism of the Fourth Wave of Feminism. is study
aims to verify whether the American series
e Bold Type
, described
by critics as transgressive from a gender perspective, is based on
the composition of its technical team, the portrayal of characters
and the themes and issues addressed. e ndings show a female
predominance in creation and technical development, although
there is underrepresentation in sectors such as postproduction and
music. New roles and neo archetypes are also introduced, depicting
self-sucient, entrepreneurial women who are committed to and
supportive of each other. New discussions about women’s health,
Resumen:
Las plataformas VOD revalorizan la producción de series de cción,
creando nuevas identidades que convergen con la diversidad sexual y
la multiculturalidad de la Cuarta Ola Feminista. El propósito de este
trabajo persigue vericar si la serie estadounidense e Bold Type,
enmarcada por la crítica como trasgresora desde una perspectiva de
género, lo es según la composición de su equipo técnico, la represen
-
tación de sus protagonistas y las temáticas abordadas. Los resultados
arrojan superioridad femenina en la creación y el desarrollo técnico,
aunque infrarrepresentación en sectores como la postproducción y la
música. También reejan nuevos roles y neo-arquetipos, que describen
a mujeres autosucientes, emprendedoras, comprometidas y solida
-
rias entre ellas. Se introducen nuevos debates sobre salud femenina,
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The Bold Type
of a case study
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
as well as sexual, social, and labour demands, are introduced from a
multicultural and sexual intersectionality perspective.
e Bold Type
depicts the serious issues of work‒life balance and the postponement
or rejection of maternity, making it a feminist series in its content.
However, it operates within a capitalist orbit that glories beauty and
luxury, preventing understanding the diversity of these women in
dierent socioeconomic contexts, which could oer new voices to the
television landscape.
Keywords:
Stereotypes; audiovisual narratives; TV series; gender; intersectionality;
e Bold Type.
así como sobre reclamos sexuales, sociales y laborales, desde una in
-
terseccionalidad multicultural y sexual. e Bold Type escenica los
graves problemas de conciliación y la postergación o rechazo a la ma
-
ternidad, lo que la convierte en una serie feminista por su contenido,
aunque bajo una órbita capitalista que hace apología de la belleza y
el lujo, imposibilitando conocer la diversidad de estas mujeres en di
-
ferentes contextos socioeconómicos que aporten nuevas voces al pano
-
rama televisivo.
Palabras clave:
Estereotipos; narrativas audiovisuales; serie de televisión; género; inter
-
seccionalidad; e Bold Type.
1. Introduction
In serialized productions, revalued by video-on-demand platforms (Cascajosa-Virino, 2018; Mateos-Pérez & Ochoa-Sotomayor,
2016), the female gender continues to be underrepresented (Cascajosa-Virino, 2019), hindering the faster evolution of creating
new discourses and approaches that represent women. When successful producers such as Teresa Fernández-Valdés, the
cofounder of Bambú Producciones and creator of successful productions such as
Las Chicas del Cable
(Netix, 2017-2020),
are found, it is evident that female authorship and its mark on series are conditioned by prot motives (López & Raya Bravo,
2019). Hence, there is a need to continue with feminist intersectional analysis (Contreras & Alfaro-Beracoechea, 2021) on the
stereotypes, roles, and archetypes of women and new masculinities in audiovisual media without “detaching from an analysis
of capitalism and its strategies of co-opting identities for consumption purposes” (Bonavitta & De Garay-Hernández, 2019: 219).
However, technical and artistic teams have slowly become more balanced (Cascajosa-Virino, 2017), especially since the
#MeToo and #TimesUp movements (Garrido & Zaptsi, 2021). is evolution has reached masculinized cinema sectors, such as
editing and postproduction (Gutiérrez-San Miguel et al., 2020). Owing to the growth of serialized productions directed by and
starring women (Gavilán et al., 2019), a trend that favours feminism both behind and in front of the camera can be observed,
creating “a more equal and inclusive television landscape” (Garrido & Zaptsi, 2021: 21).
is exponential production and distribution of content have brought greater female prominence with the turn of the century
(Hidalgo-Marí, 2017; Mateos-Pérez, 2021) and new archetypes and stereotypes that have moved away from the cultural
productions of underrepresented and stereotyped women (Belmonte & Guillamón, 2008; Mancinas-Chávez & Morejón-Llamas,
2012). is has occurred especially since the emergence of VOD platforms, which, owing to technology, have hypersegmented
audiences (Bernárdez-Rodal, 2017), producing series that meet their needs (Fernández-Manzano et al., 2016) with a signicant
plurality of themes and voices for all tastes. In this sense, Netix, Prime Video, or HBO have adopted themes and discourses of
third- and fourth-wave feminism, focusing on intersectionality and gender violence (Garrido-Rodríguez, 2021), championing
new identities and addressing the problems of these minorities. In contrast, this issue has timidly appeared on the main
traditional television channels (Smith, 2020).
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e portrayal of women in ctional series has been widely studied, given television’s transformative and socializing nature
(Menéndez-Menéndez & Zurian, 2014). ese cultural productions reect stereotypes and archetypes that convey meanings
(Galán, 2006) and construct the viewer’s identity, as television series act as vehicles “for highly individualized and cybernetic
audiences” (Morejón-Llamas, 2020: 126) and even more so with the rise of this type of on-demand consumption (Cascajosa-
Virino, 2018). is regeneration in protagonists and their discourses helps audiences internalize, through symbolic modelling
(Yubero-Jiménez, 2004), new roles and themes, addressing the need to represent “more alternative and nuanced models in
series, characters that escape gender stereotypes and heteronormative models” (Masanet and Fedele, 2019: 22), which are
equally important in adolescence and adulthood (Marcos-Ramos & González-de-Garay, 2021).
From a gender perspective, this capacity has prompted studies since the beginning of the 21st century (Belmonte & Guillamón,
2008; Coronado & Galán, 2015; Galán, 2006, 2007; Gordillo-Álvarez et al., 2009) on constructing protagonists and their
storylines and determining whether they correspond to reality by depicting new family, work, and social contexts.
Series began to build stories with unconventional themes which used complex, non-linear narrative structures that appealed to
diverse audiences. Regardless of their narrative genre, their plots and characters were developed based on reality. Series were therefore
fertile grounds to raise topical issues for debate that traversed and alluded to identities, collective imaginations, representations and
social discourses. (Mateos-Pérez, 2021: 172)
ese studies suggest greater female prominence in recent years, as well as greater diversity in their proles and roles
(Cascajosa-Virino, 2017; Lacalle & Gómez-Morales, 2018; Menéndez-Menéndez & Zurian, 2014), despite the continued
presence of patriarchal representations at both the national and international levels (Bonavitta & De-Garay-Hernández,
2019; Gavilán et al., 2019; Mateos-Pérez, 2021; Parra-García et al., 2019). In Spain, studies show gender underrepresentation
and limited sexual diversity, as well as a professional gap, with a high prevalence of domestic settings and a decrease in the
execution of professional roles. Women are also depicted as emotional rather than rational (De-Caso-Bausela et al., 2020).
e catalogue of existing series and the scientic literature reveal that the new setting for women is the workplace.
Consequently, protagonists have been examined in their family and professional environments, as well as for their ability to
balance both, indicating a gradual acceleration in US productions (Medina-Bravo et al., 2009; Sánchez-Aranda et al., 2011),
although not many Spanish (Hidalgo-Marí, 2017; Lacalle & Gómez, 2016; Ruiz-Muñoz & Pérez-Rufí, 2020; Tous-Rovirosa &
Aran-Ramspott, 2017) or Latin American productions (Mateos-Pérez & Ochoa-Sotomayor, 2016). However, television series
break gender stereotypes and represent empowered women (Padilla & Sosa Sánchez, 2018) who are supportive of one another
(Cuenca-Orellana & Martínez-Pérez, 2020), ending the rivalries often depicted in the previous century. Some productions
also depict the transformation of postfeminist entertainment into increasingly politically committed feminism, albeit from
a neoliberal perspective (Fegitz, 2023). Nonetheless, thematic gaps exist that prevent the visibility of issues such as women’s
health problems, for example breast cancer (Lacalle & Gómez-Morales, 2018), or abortion (Hidalgo-Marí & Palomares-
Sánchez, 2020), which are present in our society.
e gradual evolution of female representation in ctional series underscores the need to study feminist productions, either
to turn them into coeducational models (Belmonte & Guillamón, 2008) or to demystify them if they embody patriarchal
stereotypes. Hence, the main objective of this research is to analyse the American ensemble ction series e Bold Type (2017-
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2021), judged by media and experts (Fegitz, 2023; Korneld & Long, 2023) as a feminist series. e primary purpose of this
study is to verify this information by reviewing the archetypes, stereotypes, discourses, and themes present in
e Bold Type
from a gender perspective. To this end, the specic objectives of this paper are as follows:
▪
SO1. Analyse the presence of women in front of and behind the camera.
▪
SO2. Study the proles and roles of the protagonists within their narrative as representative case studies.
▪
SO3. Identify the storylines contextualized in fourth-wave feminism, characterized by the ght against violence towards
women and the parity between men and women in any sphere.
2. Methodology
e sample selection was based on the following criteria: a) a series featuring women in early adulthood, within the 25–35
age range; b) an ensemble series (Ruiz-Muñoz and Pérez-Rufí, 2020) to showcase dierent voices; c) distributed by streaming
on various platforms, in this case, on Freeform, Hulu, Prime Video, and Netix, the platforms that promote international
dissemination and viewing; and d) considered and categorized by media and critics as a feminist series.
e
Bold Type
(2017-2021) is an American series inspired by the life of
Cosmopolitan’s
editor-in-chief, Joanna Coles. Created
by Sarah Watson and produced by Universal Television for Freeform, it premiered in 2017 and concluded in 2021 after 5
seasons and 52 episodes. It was distributed on Hulu, Prime Video and Netix, capturing a female audience that rates it 7.8 out
of 10 on IMDb and amassing 469,000 followers on Instagram (@theboldtypetv).
is ensemble ction, led by women and starring Katie Stevens, Aisha Dee, Meghann Fahy, and Melora Hardin, chronicles
their professional adventures at Scarlet magazine in dierent departments, including fashion, social media, and editorial, with
diverse hierarchical roles—Jacqueline as a mentor and gatekeeper, Kat as a director, and Sutton and Jane as apprentices. e
series also depicts the romantic experiences of its protagonists in Manhattan, in the style of other productions such as
Sex and
the City
(HBO, 1998-2004),
Gossip Girl
(e CW, 2007-2012), or
Girls
(HBO, 2012-2017), blending professional, personal, and
social spheres.
is series has been praised by various Spanish media outlets (Table 1), which have heralded the subversive discourse of the
series and its characters. According to the study by Gavilán et al. (2019), in addition to the media, the public also appreciates the
feminist ethos, reecting women’s perceptions of this series and its inuence on their preferences, attitudes, and judgements.
e study emphasizes the normalization of bodies, the depiction of new workplace scenarios, and the protagonists’ involvement
in the gender struggle. Nevertheless, there are discrepancies due to the idealization of their jobs and the recurring need to
resort to romantic relationships as a measure of happiness.
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Table 1. Headlines published in digital media about
e Bold Type
DateMediaHeadline
30/06/2018elpais.com
‘e Bold Type’, mujeres que apoyan a mujeres
25/08/2018lavanguardia.com
Por qué ‘e Bold Type’ es la serie ligera y femini
-
sta que te pide el cuerpo
07/05/2019vogue.es
Moda, amistad y feminismo en ‘e Bold Type’, la
última serie que me ha hecho feliz
03/08/2019fotogramas.es
‘e Bold Type’: La serie feminista de Amazon
Prime Video perfecta para el verano
03/09/2019elcondencial.com
‘e Bold Type’ (Amazon): la serie feminista que
todas las adolescentes deberían ver
16/03/2021larazon.es
Moda, FEMINISMO y amistad en ‘e Bold Type’,
la última serie que ha enamorado a Mery Turiel y
que deberías ver este 8 M
16/03/2021smoda.elpais.com
‘e Bold Type’ le da vuelta al estereotipo de la
directora tirana
Source: own elaboration
After conducting a bibliographic and newspaper analysis to address the state of the art, the composition and parity of the
artistic-technical team were studied via the Inclusion Rydel by Stacy L. Smith (Gutiérrez-San Miguel et al., 2020), which
considers it necessary to have at least 50% women behind the cameras. is analysis was carried out through the technical
sheet on the IMDb website and the credits appearing in the episodes viewed.
Content analysis (Piñuel, 2002) of the protagonists, their discourses, and themes was employed after viewing the rst four
seasons, as the last season was not available on Netix or Prime Video in Spain. e total sample comprises 46 episodes (S1,
10; S2, 10; S3, 10; S4, 16), with an average duration of 45 minutes each. For the analysis, the following ad hoc sheet was applied
after an initial viewing of the series (Table 2), inspired by the physical, psychological, and sociological dimensions (Galán,
2006, 2007) and the behavioural dimension (Gordillo-Álvarez et al., 2009) of the protagonists, to detect the representation of
stereotypes on which female characters are constructed (Menéndez-Menéndez & Zurian, 2014) and the feminist challenge
through discourses, attitudes, and relationships.
Finally, new themes focusing on female conicts from an intersectional perspective were dened, emphasizing axioms inherent
to feminism (Donstrup, 2022:31): liberal feminism (individualism, equal rights in the market, legal and political equality),
radical feminism (patriarchy, the personal is political, sisterhood, denunciation of gender-based violence, myth of romantic
love), racial feminism (racism, multiple oppression, dierences among women), and postmodern feminism (deconstruction
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of gender identity, antifundamentalism). is approach will help understand the behaviour and interactions of these women
(Gordillo-Álvarez et al., 2009) with fourth-wave feminism (Aguilar-Barriga, 2020; Garrido-Rodríguez, 2021).
Table 2. Character analysis sheet
VariablesCategories
Physical
Age: young (15–24), young/adult (25–44), adult (45–64), over 65.
Cultural/ethnic origin: Caucasian, African-American, Arab, Asian.
Physical appearance: attractive/very attractive, average, unattractive.
Style of dress: elegant, sexy, casual/sporty, masculine.
Psychological
Personality: extroverted, introverted.
Temperament: intuitive, perceptive, reective, sensitive.
Goals/objectives: career advancement, becoming a good professional,
economic necessity, altruism.
Sociological
Sexual orientation: heterosexual, homosexual, bisexual, queer.
Marital status: single, married, divorced/separated, widowed.
Relationship stability: stable, changing.
Number of children: none, 1, 1–2, more than 2.
Economic level: high, medium, low.
Profession: journalist, editor, marketing/communication, photographer.
Position in the job hierarchy: executive/assistant executive, high
qualication, medium qualication, low qualication.
Behavioural
Discourses: references to feminism, sexual, ethnic, religious or political
diversity, violence against women.
Attitudes: valence (positive, negative, neutral), activity (proactive,
reactive), motivation (self-interested, altruistic), evaluation of stimuli
(emotional, rational).
Relationships: inclusive, manipulative, passive, aggressive, assertive,
permissive.
Source: own elaboration
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3. Results
3.1. Prominence with exceptions
Applying the Rydel inclusion test to the cast reveals gender parity with a slight predominance of women, at 43 women (58.11%)
compared with 31 men (41.89%). When the actors and actresses are divided into categories based on their appearance, we
observe that among the main characters who appeared in 30 –to 52 episodes, 5 were women (55.56%), and 4 were men (44.44%).
Of the secondary characters, with appearances in 15– to 29 episodes, 1 was a woman (33.33%), and 2 were men (66.67%). For
occasional characters who appeared in 5 to 14 episodes, there were 9 women (64.29%) and 5 men (35.71%). Finally, among the
sporadic characters with appearances in 2 to 4 episodes, 28 were women (58.33%), and 20 were men (41.67%). Notably, in the
department of stunt doubles, whose actors perform risky stunts, there are two women for the stunt doubling of Aisha Dee and
Katie Stevens and one man who participates as a driver in one episode. Here, women also predominated at 66.67%, compared
with the male at only 33.33%.
Behind the scenes (Figure 1), signicant data are presented, which, depending on the sector analysed, conrm
underrepresentation. When all the positions are computed, we nd a female prevalence, with 201 women (55.52%) compared
with 161 men (44.48%). By sector, we observe female dominance in the direction department, whether as directors (12 women;
70.59%) or assistant directors (18 women; 58.06%), as well as in the writing department (22 women, 75.86%) and script
supervision (8 women, 80%).
Figure 1. Composition of the technical-artistic team
Source: own elaboration
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e dierence in production is less signicant (23 women, 47.92%; 25 men, 52.08%), although here, it is notable that men
dominate the production leadership roles (4 women, 26.67%; 11 men, 73.33%). Conversely, in production design, only one man
and one woman assumed a role, with the man doing so only anecdotally in one episode, whereas the woman was responsible
for 51 episodes. e set design team (3 women, 60%; 2 men, 40%) and the location team (4 women, 57.14%; 3 men, 42.86%)
display a balanced composition.
Furthermore, the prevalence of women is noticeable in departments such as the art department, led by 2 women (66.67%)
and one man (33.33%), as well as within the art department itself, comprising 25 women (59.52%) and 17 men (40.48%). e
presence of females is signicant in casting (14 women, 87.5%; 2 men, 12.5%), costume design (27 women, 93.1%; 2 men,
6.9%), and makeup (25 women, 78.13%; 7 men, 21.87%). However, in several sectors of the artistic–technical team, there is
a clear male dominance. is is the case in the editing department (4 women, 36.36%; 7 men, 63.64%), cinematography (1
woman, 20%; 4 men, 80%), sound (5 women, 11.11%; 40 men, 88.89%), visual and special eects (4 women, 14.29%; 24 men,
85.71%), and music (4 women, 30.77%; 9 men, 69.23%).
e study of women’s presence in front of and behind the camera oers relevant data that demonstrate equal representation
(Cascajosa-Virino, 2017), contributing positively to the #TimesUp movement, with women in leadership roles both as
protagonists and behind the scenes. e test application conrms that
e Bold Type
meets the necessary 50% requirements
in most departments. However, there is underrepresentation in sectors traditionally associated with men, such as production
leadership, editing, cinematography, sound, visual and special eects, and music, aligning with other studies such as that of
Gutiérrez-San Miguel et al. (2021). Conversely, there are feminized departments, such as casting, costume design, and makeup.
Despite their underrepresentation in these traditionally male-dominated sectors, the leadership and writing departments are
predominantly female, providing the series with a distinct voice from its creator, Sarah Watson, and a female-driven team that
crafts stories by, for, and about women.
3.2. Female sisterhood in personal and professional growth
e physical dimension of the protagonists (Table 3) reveals the presence of young/adult women (Jane, Kat and Sutton) and
an adult woman (Jacqueline), with three instances of women of Caucasian origin compared with one African-American
woman. ese women share the common trait of conforming to the beauty standards imposed by the entertainment industry
(Korneld & Long, 2023). However, they are not depicted perfectly, nor do they use their attractiveness to achieve their
goals. is distances them from the femme fatale, opportunistic woman, or objectied woman images commonly portrayed
in female-centric television series such as
Desperate Housewives
(ABC, 2004-2012),
Revenge
(ABC, 2012-2015),
Gossip Girl
(e CW, 2007-2012), or
Pretty Little Liars
(Freeform, 2010-2017) (Morejón-Llamas, 2020), among others. Adena, a recurring
character, is of Arab origin and beautiful. Perhaps the only woman who does not conform to traditional beauty standards
is Sage, a journalist and colleague at Scarlet, who, despite appearing in more than 30 episodes, does not have storylines or
signicant interventions and, thus, is not considered by this analysis.
e protagonists use their clothing to express their emotions and personalities: Jane is sexy on the outside but shy on the
inside; Kat is assertive, creative, and bold; Sutton is elegant, sweet, and self-assured; and Jacqueline is elegant, empowered,
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decisive, and feminist. ere are scenes discussing sexual assault, abortion, the glass ceiling, and feminist struggles where the
protagonists use the colour red as a symbol of empowerment (e.g., S1E4, S2E1, S3E2).
e psychological dimension shows an excellent representation of extroverted women focused on their professional careers,
such as Jane and Sutton. is allows the plots to delve deeper into their internal issues. On the other hand, Kat and Jacqueline
exhibit an altruistic and committed focus, reecting an understanding of their work and social responsibilities.
Table 3. Physical, psychological, sociological, and behavioural dimensions of the protagonists
CharactersDimensions
Jane
P:
Young/adult, Caucasian, very attractive, dresses sexy.
PS:
Introverted, reective, sensitive, aims to become a good professional.
S:
Heterosexual, single, changing relationships, no children, high economic
level, journalist, medium qualication.
B:
Discourses: feminism, sexuality, sexual violence, women’s health. Attitude:
negative, reactive, self-interested, emotional. Relationships: inclusive, passive.
Kat
P:
Young/adult, Afro-American, attractive, dresses casually/sporty (sometimes
with a masculine style).
PS:
Extroverted, perceptive, sensitive, altruistic.
S:
Queer, single, uctuating relationships (indelity), no children, high economic
status, social media director, highly qualied.
B:
Discourses: feminism, sexual diversity, political activism, ethnic diversity, new
technologies. Attitude: positive, proactive, altruistic, emotional. Relationships:
inclusive, assertive.
Sutton
P:
Young/adult, Caucasian, very attractive, dresses elegantly (with a softened
style).
PS:
Extroverted, intuitive, perceptive, rising in professional hierarchy.
S:
Heterosexual, single/married, uctuating relationships (indelity), no
children (one abortion), low economic status (high since marriage), fashion
assistant, lower qualications.
B:
Discourses: feminism, professional advancement, rejection of motherhood.
Attitude: positive, proactive, interested, rational. Relationships: manipulative,
assertive.
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Jacqueline
P:
Adult, Caucasian, very attractive, dresses elegantly.
PS:
Extroverted, perceptive, reective, altruistic.
S:
Heterosexual, married/separated, stable relationship (with crises and an
aair), two children, very high economic status, editor, executive.
B:
Discourses: feminism, violence against women, glass ceiling, work-life
balance. Attitude: positive, proactive, altruistic, rational. Relationships: inclusive,
assertive.
*Note: P=physical; PS=psychological; S=sociological; B=behavioural
Source: own elaboration
Kat, a biracial and queer character, ts the neo-archetype of the ghter-heroine (Garrido & Zaptsi, 2021) who battles,
challenges limits, and feels obligated to save everyone. Kat ghts tirelessly for issues aecting her due to her biracial identity
and sexual orientation. She begins as a “proud heterosexual” (S1E1) and evolves to identify as bisexual and later as queer
throughout the series. Her struggle is intersectional, encompassing feminism (#MeToo, #TimesUp, #BodyPositive) and racism
(#BlackLivesMatter), as mentioned in various episodes. erefore, she focusses on cyberbullying, hate speech on social media,
fear of women’s bodies, rights and equality, female political activism, the ght for creative freedom, ethnic diversity, and
religious plurality.
Jacqueline, the boss, demonstrates an altruistic drive in her ability to contribute selessly to the training of her employees at
Scarlet, breaking gender stereotypes that associate leadership roles with female rivalry and portraying successful women as
arrogant and authoritarian (Lacalle & Gómez, 2016). e archetype that Jacqueline represents is that of the female ghter–
ruler (Garrido & Zaptsi, 2021) who can inuence, dominate, and lead professionally and within her family. is breaks the
negative representation of female executives in other audiovisual productions with similar themes, such as
e Devil Wears
Prada
(David Frankel, 2006). Jacqueline is a boss, but above all, she is a woman who feels obligated to support her team so its
members can soar. e three young adults support one another without judgement, work collectively against injustices, and
help the others advance in their careers.
As we previewed with the character of Kat,
e Bold Type
presents a broad spectrum of sexualities (Lotz, 2001). e main plot
points and resolutions are focussed on accepting one’s sexual identity and the uncertainties that arise during the recognition
process. However, in the workplace and social spheres, normalization of the LGTBI+ community is assumed (Marcos-Ramos
and González-de-Garay, 2021). Indeed, the plots focus on feelings, doubts, and decisions rather than community acceptance.
is natural acceptance of diversity is highlighted by other male characters (often highly stereotyped), such as Olivier, the
fashion director, and Andrew, the assistant director, who performs as a drag queen in his free time. Adena, Tya, and Eva, Kat’s
partners, are depicted as powerful, hardworking, multiracial lesbian women.
Sexual experimentation involves two protagonists and situations: Jane, through her articles exploring sexuality, and Kat, who
tries to answer her questions about her sexual identity through open, heterosexual, and bisexual relationships. In line with
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Lacalle and Castro (2017), indelity, a recurring theme in serial ction, is portrayed in
e Bold Type
through three protagonists:
Sutton and Jacqueline, with their ex-lovers, and Kat, for pleasure and experimentation. Romantic relationships are also uid,
showing complicated connections that evolve over the seasons. Despite their romantic and sexual experimentation, each
character has a signicant other: Jane has Ryan, Kat has Adena, Sutton has Richard, and Jacqueline has Ian.
e protagonists’ high economic level promotes a consumer society through the tyranny of fashion, as seen in various
serialized productions (Morejón-Llamas, 2020) and perfectly aligned with intensive neocapitalism. Jane, a journalist, and
Sutton, a fashion assistant, exhibit a high standard of living that does not correspond to their incomes. In Sutton’s case, this
standard rises signicantly after marrying Richard, a wealthy member of Saord Publishing –the parent company of Scarlet–
highlighting not economic dependence, as she works, but an improvement in her nancial situation.
e protagonists are portrayed as self-sucient in their nances and work activities (Lacalle & Hidalgo-Marí, 2016). ese
women are successful in their jobs and grow thanks to their eorts, although it is more challenging for them to achieve success
than it is for men, except in the case of Jacqueline. Additionally, they must make extra sacrices to break the glass ceiling
(Hidalgo-Marí, 2017). For example, when they reach management, they do not ascend to the next level, the Board, which has
two women and approximately twenty men chair members. is is highlighted when Kat asks Jane, “What does it take to be a
board member? Being bald, wearing tailored suits, juggling” (S1E6).
With respect to the attitudes of these four protagonists, there is a diversity in their behaviours, depicting a wide range of women
who face life according to their resources and perceptions but always showcasing female empowerment through sisterhood.
ey discard the stereotype of the conict-driven woman who needs to trample her rivals for professional advancement and
who criticizes and belittles the work of other women. ey even breakdown stereotypes such as victorious, arrogant, and tough
women (Lacalle & Gómez, 2016).
ese women are capable of marking their territory when their partners attempt to rescue, help, or defend them, deconstructing
the image of the rescued-dependent woman present in patriarchal female archetypes. e help they reject from men is
replaced by female solidarity, which buries the struggle exhibited in other television productions (Menéndez-Menéndez,
2014). Additionally, they are positive and proactive, solving their problems, taking the initiative, and opening debates, except
for Jane, the young journalist whose life is constantly immersed in drama due to real problems –her mother’s orphanhood,
cancer predisposition, and double mastectomy– and who dramatized her personal and work situations. Jane fears change,
doubts herself, and relies on others for reinforcement, demonstrating a reactive attitude.
In their relationships, they are inclusive, except for Sutton, who is not afraid to lie or do whatever it takes to achieve a fashion
director position, including manipulation. She is also aggressive in her impositions, as nothing can stop her in her professional
career, much like Kat, who aggressively ghts to end social injustices, especially those concerning feminism, racism, or gender
diversity. Although she always adheres to professional ethics, Jane shows self-interest when pursuing news stories. In contrast,
Jacqueline, like Kat, is altruistic, inclusive, and assertive, naturally combining power and empathy, as previously mentioned.
Furthermore, there is a balance between the emotional women, Jane and Kat, and the rational women, Jacqueline and Sutton.
is rationality leads them to reject love in favour of professional growth –Jacqueline with her marital crisis; Sutton, when she
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decides to stay in Manhattan working, even though her ancé Richard moves to San Francisco; or when she asks for a divorce
because she does not want to be a mother.
3.3. New perspectives on fourth-wave feminism
e Bold Type
initiates a current debate on women’s living conditions, inequality, and the violence they face in each of its
episodes, bringing to light messages framed within the fourth wave of feminism (Aguilar-Barriga, 2020), explicitly referenced
in S2E8. is is also evident in the pilot episode, where the production’s intention is stated through a line from Jacqueline, the
boss, about Scarlet magazine: “We are a fashion magazine that talks about jeans, but those jeans that allow you to climb the
world.”
Feminism, the central axis of the series, interacts with other social issues highlighted in movements such as #BlackLivesMatter,
#MeToo, #TimesUp, and #BodyPositive, occasionally transcending the screen. Aisha Dee, the actress who portrays Kat, voiced
concerns on Instagram about the lack of LGTBI+ representation and multiracial equity in the artistic and creative teams, which
hinders gender advancement in the nal product. Social audience pressure on networks, supported by Dee, prompted the
writers to create an alternative ending for the fourth season (Mullor, 2021).
e handling of feminist themes and discourses is always conducted with an informative, educational, and preventive tone,
especially regarding issues related to sexuality and women’s health. It also adopts a cautionary tone when addressing the
objectication of women on social media and in the new cultural industry.
Table 4. emes and subthemes related to feminism
emesSubthemes
Professional career
−
Work-family balance
−
Glass ceiling
−
Mobbing, workplace, and sexual harassment
−
Social implications and activism
−
Political implications
Sexuality
−
Exploration of female pleasure
−
Satisfactory relationships
−
Polygamy
−
Female pornography
−
Dating apps as sexual enticement
−
Sexual diversity
−
Sexual objectication of women
−
Naturalization of bodies
−
Sexual activity in old age
Positive discrimination
−
Gender: parity in companies, institutions, and politics;
women’s associations
−
Cultural Origin/Sexual Identity: multiracial and sexual
inclusion in companies
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Women’s health
−
Medical care for women
−
Pink tax
−
Genetic mutation and predisposition to female cancers
(breast, cervical, and ovarian)
−
Surgical approaches (mastectomy or double mastectomy,
hysterectomy)
−
Sexually transmitted diseases
−
Menstruation
−
Menopause
−
Contraceptive methods
−
Abortion
Motherhood
−
Single parenthood
−
Childbearing age
−
Postponement or rejection of motherhood
−
Egg freezing
−
Mental load
−
Economic limitations
Women on social media
−
Cyberbullying
−
Cyber aggression
−
Sexting
−
Hate crimes
−
Cyber chauvinism
−
Freedom of expression
−
Female discussion forums
−
Social networks as a source of income
−
Online activism
Lifestyle habits
−
Promotion of sports
−
Promotion of healthy eating
Source: own elaboration
Women in
e Bold Type
face various obstacles in their professional careers, ranging from family–work balance to seemingly
unbreakable glass ceilings. ese barriers include workplace mobbing and harassment perpetrated by cultural industry
magnates, as well as sexual abuse in the workplace. ese elements not only limit women’s professional growth but also
reect a social reality where power and control are used to intimidate and silence them. Additionally, the series highlights
the limitations women face in social movements and political careers, where patriarchal structures and a lack of institutional
support hinder their progress and visibility.
e series examines female sexuality openly and progressively. It addresses the exploration of female pleasure and depicts
satisfying relationships (Korneld & Long, 2023). At times, it promotes polygamy, steering away from the myth of romantic
love (the myth of marriage or the myth of exclusivity) (Rebollo-Bueno, 2023) and advocating for openness in romantic and
sexual relationships. It also focusses on pornography aimed at female audiences and the use of dating apps as a means of
sexual exploration. Furthermore, it addresses sexual diversity and the objectication of women, challenging traditional norms
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and promoting the normalization of bodies and sexual activity in old age. is approach contributes to a more inclusive and
realistic representation of female sexuality tied to liberal feminism.
In
e Bold Type
, positive gender discrimination is intersectional, converging with the multiethnicity and sexual diversity
inherent to racial and postmodern feminism. e series advocates for parity in businesses, institutions, and politics and
highlights the importance of female associationalism related to radical feminism. It also focusses on multiracial and sexual
inclusion in the workplace, promoting a more diverse and equitable environment. ese eorts are essential to combat
inequality and create opportunities for all women, regardless of their background or identity.
e series opens a debate on various aspects of women’s health, from medical assistance and the pink tax to genetic
predispositions to certain cancers (such as breast, cervical, and ovarian cancer) and the necessary surgical approaches
(mastectomy, hysterectomy). Topics such as sexually transmitted diseases, menstruation, menopause, contraceptive methods,
and miscarriage are also discussed, although the debate on the voluntary termination of pregnancy is not open. Sexually
transmitted diseases are discussed in an informative tone, as are the ailments that women suer during menstruation or the
sensations and challenges they face during menopause. is comprehensive approach allows for a greater understanding of
women’s unique health challenges.
Motherhood is another crucial theme, exploring single parenthood’s economic limitations and diculties. e series delves
into the pressure of the fertile age, postponing motherhood, the decision not to have children to pursue a successful career,
and egg freezing as a solution to this internal debate that forces women to choose between family and work. Additionally,
the emotional burden and guilt many women feel when delegating functions are highlighted. ese narratives reect the
complexities and dicult decisions many women face, helping them understand low birth rates and increased maternal age.
Social media plays a signicant role in the lives of
e Bold Type
characters, serving as both a platform for empowerment
(cyberfeminism) and a space of vulnerability. e series addresses cyberbullying, cyber aggression, sexting, and hate crimes,
as well as online misogyny. It also discusses the limitations of publishing about female bodies (such as the #FreeNipple
movement) and female conversation forums. At the same time, it shows the potential of social media to economically and
socially empower women, oering a platform for self-expression and connection.
Fiction promotes healthy lifestyle habits, such as exercise and healthy eating. rough characters like Jacqueline, who is often
shown exercising in her oce, the series emphasizes the importance of running, yoga, and Pilates. e need to maintain a
balanced diet is highlighted, with frequent examples of salads and healthy meals. ese habits contribute to physical well-being
and reinforce the idea of self-care and personal empowerment. Despite this, during moments of emotional destabilization,
the characters resort to junk food and alcohol as a means of release, another lm cliché that associates binge eating with
emotional problems (Hundley, 1995).
e story promotes the habits of a healthy lifestyle, such as exercise and healthy eating. rough characters such as Jacqueline,
who often appears exercising in her oce, the series emphasizes the importance of running, yoga, and Pilates. Additionally,
it highlights the need to maintain a balanced diet, frequently featuring salads and healthy meals. ese habits contribute to
physical well-being and reinforce the idea of self-care and personal empowerment. Despite this, during periods of emotional
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instability, the characters turn to junk food and alcohol as a means of release, another lm cliché that associates binge eating
with emotional problems (Hundley, 1995).
In addition to its feminist themes,
e Bold Type
employs inclusive vocabulary, using concepts such as intersectional feminism,
patriarchy, empowerment, gender issues, and new terms that appeal to identication, such as cisgender, transgender, queer,
and pansexual. e challenge is reected in the protagonists’ mobilization, for example, when they expose their breasts to
protest Instagram censorship in S1E6 and denounce sexual abuse and assault in S2E1, “Carry the Weight,” and S2E6, “e
Domino Eect.” As Kat states in S1E9, “ere is no feminism without intersectionality.” erefore, feminism converges with
xenophobia (questioning immigration, rejecting the use of the hijab, executing deportations, granting dual citizenship,
issuing work visas, stigmatization, and association with conict, police repression attitudes) and sexual diversity (new gender
identities, new sexual identities). e #BlackLivesMatter movement is also reected, demonstrating once again the thematic
intersectionality between feminism and multiculturalism (Garrido & Zaptsi, 2020; Lotz, 2001).
Additionally, the series addresses the sacrices of motherhood, the biological pressure on women, and the high cost of freezing
eggs and postponing motherhood due to the labour market. Abortion is discussed from a dierent, more sensitive perspective.
However, the conservative perspective (Hidalgo-Marí & Palomares-Sánchez, 2020) depicts involuntary pregnancy termination
instead of the protagonist’s voluntary decision –Sutton does not want to continue because she fears that it will hinder her
professional career, so when she miscarries, she feels relieved. e innovation lies in her friends’ sisterhood, understanding
her, not judging her, and liberating her, portraying friendship as a safety net.
4. Discussion and conclusions
Drawing on Lotz’s (2001) approach and Eagly’s social role theory (1987), we consider that
e Bold Type
breaks some
gender stereotypes by producing substantial changes in the roles of these women, as well as in their relationships with other
women and men. It is a feminist and transgressive series in terms of how it represents its protagonists in their psychological,
sociological, and behavioural dimensions, although less so in the physical dimension due to its lack of diversity, in contrast
with productions such as
Orange is the New Black
(Netix, 2013-2019) (Martínez-García and Aguado-Peláez, 2017). While the
protagonists are beautiful women, they do not take advantage of their looks; in fact, they worry about how others perceive
their career advancements owing to their attractiveness, thereby ending the stereotype of the opportunistic sexual object.
Additionally, the series’ emphasis on the protagonists’ high standard of living and the trivialization of consumption (Morejón-
Llamas, 2020) prevent viewers from seeing women in dierent socioeconomic contexts and link success with wealth creation,
subordinating the construction of new identities to the capitalist interests of television (Bonavitta and De-Garay-Hernández,
2019; Korneld and Bassett, 2023).
Despite this, the series can be considered feminist owing to its narrative strategies related to issues such as sisterhood, the
economic independence of its protagonists, the work context they focus on, and the protests and mobilizations that showcase
a commitment to sexual and gender diversity, multiculturalism, and feminism (Garrido and Zaptsi, 2021). Notably, the only
lesbian relationship in the series portrays a powerful but complex couple, with the weight of all the themes introduced by
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the intersectionality of third-wave feminism and the violence against women of the fourth wave falling on their characters
(Garrido-Rodríguez, 2021).
In this sense,
e Bold Type
oers a multifaceted conception of female representation, with an unwavering sisterhood as the
central theme (Cuenca-Orellana and Martínez-Pérez, 2020) in both personal and professional terms. e protagonists are able
to balance their families and personal and professional lives in line with new serialized productions (Lacalle and Hidalgo-
Marí, 2016), although they are not portrayed as tireless superwomen (Hidalgo-Marí, 2017), as they sometimes sacrice their
family or relational lives to focus on their work. e workspace ultimately behaves as a key place for female empowerment,
even if it requires, or the protagonists choose, sacrice in certain areas of their private lives (Fegitz, 2023). In this context,
Jacqueline embodies one of the most transgressive characters; despite being the magazine’s editor, she is not depicted as a
perfect woman who manages everything. is is reected in the series through a marital crisis, her husband’s ability to commit
to her dedication to work, and her lack of presence at important family moments.
Although progress is evident, there are still stereotypical relationships, such as the impossibility of friendship between men
and women, the association of success with indelity, or relationships between an older man and a younger woman. As a
result, some romantic relationships remain toxic and complicated. ese women are portrayed as sexually liberated, with
an active sex life not always tied to romantic relationships and seduction, as shown in other content (Lacalle & Castro, 2017).
However, they still desire to be loved, professing the “myth of romantic love” (Cambra-Badii et al., 2019), an issue already
noted by Gavilán et al. (2019), whose interviewees criticized the protagonists’ need to resort to romantic relationships as a
source of happiness. is is also seen in series aimed at adolescents, portraying female characters with self-perception issues
(Valenzuela-Monreal et al., 2023: 16).
e themes introduced in
e Bold Type
surpass those of previous productions by addressing issues through dissemination
and prevention, for example, when they expose one of the protagonists to breast cancer (Lacalle & Gómez-Morales, 2018)
or other sexual health issues, such as sexually transmitted diseases, menstruation, contraceptive methods, egg freezing,
or abortion (Hidalgo-Marí & Palomares-Sánchez, 2020). Other topics related to sexuality, such as female pleasure, sexual
boundaries, experimentation, pornography, and dating apps, as well as those denouncing sexual assault, abuse, and rape,
are also addressed. e series portrays sexual predators and the bravery of victims with great honesty. It provides information
and encourages debate through dialogues and storylines highlighting reproductive rights, the importance of consent in
relationships –promoting a culture of respect and open communication– and the power of cyberfeminism to amplify voices
and create networked support.
e storylines are contextualized by fourth-wave feminism and characterized by the ght against violence towards women
(Donstrup, 2022). is is evident when situations arise where the protagonists must deal with inappropriate behaviour in the
workplace, illustrating not only the personal and professional impact of harassment but also the importance of solidarity and
mutual support among women to confront and overcome these situations. e series portrays the abuse of power in all spheres
while showing how the protagonists navigate these dynamics, seeking justice and holding their harassers accountable. is
is closely related to the social and political activism in the series (Korneld & Long, 2023), which aims to raise awareness and
mobilize through collective action to eradicate violence against women.
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e series also reects gender parity, emphasizing equality in the workplace. e storylines highlight the protagonists’ eorts
to achieve equal pay and parity in leadership roles. is includes ghting against glass ceilings and promoting an inclusive
and equitable work environment, demonstrating that feminism is practised in and through work: “ey strengthen the cultural
discourse that work is meaningful and, thus, sacricing one’s private life in labour –and time– intensive careers is not only
worthwhile but also morally preferable” (Fegitz, 2023:13).
e Bold Type
strives to represent women in positions of power and
leadership, highlighting the ability and competence of women in roles traditionally dominated by men. is approach not
only challenges gender stereotypes but also inspires female viewers to aspire to similar roles. It addresses intersectionality by
showcasing the diversity among its female characters, including women of dierent racial backgrounds, sexual orientations,
and socioeconomic contexts, characteristic of postmodern feminism (Donstrup, 2022).
e need to monitor the evolution of women in serialized productions is undeniable, as is examining new masculinities, which
introduce a renewed worldview featuring “sensitive, understanding, advisory, caregiving, aectionate, patient men who also
engage in domestic work” (Contreras & Alfaro-Beracoechea, 2021: 303), which is also observed in
e Bold Type.
Despite the
limitations of this study, we foresee a female projection free of stereotypes on and o screen, owing to the inclusion eorts in
casting and creative and technical teams, contributing to new and positive modelling of roles and stereotypes for audiences.
5. Acknowledgements
is article has been translated into English by the company American Journal Experts (AJE) to whom we express our gratitude.
Funding Sources: Loyola Andalusia University, Spain
6. Conict of interest
e author declares that there is no conict of interest contained in this article.
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July-December of 2025
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