The Law of Lidia Poët is the Italian TV series of Netflix, streamed on the platform from 15 February 2023 with its 6 episodes, and that on 1 September 2026 inaugurates the autumn season of the Rai fiction landing on Rai 1. Described by Netflix as a light procedural, the series takes its cue from the story of Lidia Poët, the first woman in Italy, who had to struggle for years to be enrolled in the order of lawyers. In the series the protagonist is played by Matilda De Angelis, next to her Eduardo Scarpetta as Jacopo Barberis the journalist who helps Lidia. Pier Luigi Pasino is Enrico Poët, while Sara Lazzaro and Sinéad Thornhill are Teresa Barberis, wife of Enrico, and Marianna Poët, their daughter.
La Legge di Lidia Poët la recensione
Un procedurale per millennials
The Law of Lidia Poët is a fiction for millennials, for those who grew up with a certain type of TV products and today passed on to streaming, to Netflix in particular, pushed by the collective word and increasingly rejected by general television. A product that seems to be born in a new season of Boris, built for the desires of the algorithm: there is the biography, there is the love triangle, there is the history teen, there is the case of episode, there is the feminist element, there is a pinch of nudity. In short, there is everything you need to go through the free way. Too bad there is no screenplay in an impeccable form for scenery, costumes, settings.
The Netflix platform chooses the way of simplicity to try for once to scale the world’s Top Ten with an Italian product. Lidia Poët is Italian in form but could be Spanish, Turkish, American for the plot. A very light procedure that would hardly come to the phase of the pilots of the American generalist TV, with the cases of episode and that aura from “Bridgerton” of the poor that infarcisce the past of themes, dialogues and very current styles. The actors merely do the prescribed homework, Eduardo Scarpetta appears forced into a stain as well as the good Sara Lazzaro recently appreciated in Call My Agent. Matilda De Angelis whispers to confuse the waters and try not to notice the absence of a Turin accent, but her Lidia has the thickness of a figurine on the album. But it is not his fault that they wrote it like that. Maybe the Law of Lidia Poët will succeed all over the world, what is certain is that Netflix is running more and more for the role of Rai 1 of streaming. Vote 5.5 Riccardo Cristilli
L’attivismo femminista mediatico non basta
In these days more than ever, there has been a lot of talk about gender equality and role of the woman, accomplice one of the most chatted Sanremo Festival that has seen on stage many women than of these themes, who more than anyone less, they become spokesperson. We will not dilute in this place on comments about Sanremo, but rather on this rampant media feminist “actism” that is investing the whole world of show and, of course, of serial and film narrative. Lidia Poët is a flashing example: the series, launched like any Netflix production pumped, supported by influencers and creators hired for the occasion, does not shine unfortunately for acumen and originality. In fact. In becoming a feminist flag, what turns out is the usual redundancy that at the end of the accounts, so much wants and nothing strings.
It is a pretentious series and as it happens very thick in the Italian productions of the platform, extreme theatrical in the recitation, from the artefacts phrases whispered with voice from De Angelis, to the ironic “by manual” of Scarpetta. A feminism almost “of a way” that instead of adequately telling a story that deserves it, is redundant and at times superficial. A use of music once again pop, makes even less credible a succession of long episodes and boring alas. Vote 5
Giorgia Di Stefano by TvTips
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