Exploring the depths of ‘Three Women’: A TV adaptation that transcends its literary roots
A bold new take on feminine desire
When journalist Gia Lombardi (Shailene Woodley) declares her intention to write a comprehensive piece on “sex in America,” it initially seems overly ambitious, more reflective of her own aspirations than a genuine exploration of the subject. This was a common critique of the 2019 bestseller “Three Women” by Lisa Taddeo, which drew broad conclusions about feminine desire and trauma from a limited number of case studies.
However, the television adaptation of “Three Women,” also created by Taddeo and now airing on Starz, manages to transcend this initial grandiosity. The shift to a visual medium enriches Taddeo’s detailed reporting and the diverse perspectives that a collaborative form necessitates. No longer confined to a single writer’s prose, the stories of the titular women are brought to life through the performances of the actors and the visual storytelling crafted by the directors. This transformation is particularly fitting for a subject as inherently tactile as sex.
The women behind the stories
Gia’s subjects retain their names, often pseudonyms, from Taddeo’s book: Lina (Betty Gilpin), an Indiana housewife who leaves her emotionally distant husband and rekindles a relationship with a married high school ex; Sloane (DeWanda Wise), a successful entrepreneur on Martha’s Vineyard whose husband enjoys watching her with other partners; and Maggie (Gabrielle Creevy), a young woman from North Dakota who decides to report her former English teacher for an affair that occurred when she was underage. Each episode featuring Maggie opens with a disclaimer that the teacher, Aaron Knodel, was never found guilty, and the series represents her side of the story.
Lina’s journey of self-discovery
Lina’s story is a poignant exploration of a woman rediscovering her own pleasure and sense of self. Betty Gilpin, known for her role in “G.L.O.W.,” brings a vibrant energy to Lina’s character, making it clear that her journey is more about personal reawakening than her unfaithful ex-partner.
Sloane’s complex portrayal
Sloane’s character undergoes significant changes in the adaptation. In the book, all three women are white, which posed challenges to Taddeo’s goal of drawing universal themes from individual stories. The show reimagines Sloane and her husband Richard (Blair Underwood) as Black, adding layers to her portrayal as an aspirational figure with a complex emotional life. This shift is thoughtfully explored, particularly in relation to Sloane’s family history. The series also introduces new plot elements, such as Sloane’s growing attraction to a local working-class couple, adding dynamism to her story.
Maggie’s delicate narrative
Maggie’s experience is handled with the sensitivity it demands. The series takes her desire for Aaron (played by Jason Ralph) seriously, while also highlighting the power dynamics at play. This nuanced approach ensures that Maggie’s story is both compelling and respectful.
The power of intimacy
One of the standout elements of “Three Women” is its use of intimacy. The show features sex scenes that unfold over extended periods, capturing the full spectrum of human interaction—from initial attraction to hesitant engagement to total abandon. These scenes are characterized by the clumsiness and imperfections that define real-life encounters, offering a refreshing departure from idealized portrayals of sex.
The all-women directing team, including Louise N.D. Friedberg, Cate Shortland, and So Yong Kim, demonstrates the storytelling potential that is often lost in more conventional approaches. Their work underscores the importance of female perspectives in exploring themes of desire and intimacy.
Gia’s evolving role
Gia’s voiceover and physical presence serve as a unifying thread throughout the series. Like the Netflix series “Inventing Anna,” “Three Women” transforms the reporter into an active character, juxtaposing her drive to complete her book with her interviewees’ quests to fulfill their erotic and emotional needs. Gia’s narration, however, can sometimes feel clichéd and excessive, reminiscent of the prose-heavy approach in “Fleishman Is in Trouble.”
Despite this, Gia’s character is effectively used as a fourth woman, with her own complex relationships and personal history. The show fictionalizes her relationship with her now-husband, Jackson Waite, adding depth to her storyline. However, Gia’s arc feels less complete than the others, ending somewhat abruptly and leaving certain details unresolved.
A deeper exploration
“Three Women” makes its impact by delving deeply into the lives of its characters rather than attempting to draw broad generalizations. The series offers rich insights into how women navigate their relationships with sex under patriarchy, whether it’s Lina fumbling with a vibrator while her kids play outside or Sloane making a bad decision after a tense family confrontation. Gia may introduce the stories, but the eponymous trio each represent a world unto themselves.
The first episode of “Three Women” is now available to stream on the Starz app, with new episodes releasing weekly on Fridays. For more information and to watch the trailer, visit Three Women.