With Dalliance, television continues its brave expeditions into unknown narrative lands. It was first forced to venture into women’s stories (using female writers, directors, stars and, oh my goodness, sometimes it was just wall-to-wall womanity, you know?) in the post-Weinstein years. Previously unassailable figures were toppling like ninepins and investors needed to take refuge in those unlikely to have problematic pasts who were likely to tank projects the moment any reporter turned a beady eye upon them.
That turned out quite well. Women were not as boring as we had been led to believe, and were often capable of anchoring quite interesting, intelligent or funny shows. Sometimes they were all three at the same time, even if they weren’t called Fleabag.
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