Television programming focused on women’s emotional experiences has historically faced dismissal in critical circles, often labeled disparagingly as “melodrama” or “women’s entertainment.” Lisa Hamilton Daly, former Director of Original Series at Netflix, has dedicated much of her career to challenging this perception, arguing that female-centered storytelling deserves the same respect and consideration as male-centered narratives.
“I want to reclaim it. I want to make it OK to talk about women’s feelings,” she said.
Her background in academia, studying 19th and 20th century British literature with a focus on women’s fiction, provided the foundation for this perspective, which she later brought to her television career.
Throughout her time in the entertainment industry, Daly has consistently advocated for programming that centers women’s experiences, emotional depth, and interpersonal relationships. This philosophy informed her development of successful Netflix series like “Virgin River,” “Sweet Magnolias,” and “Firefly Lane.”
Historical Context and Critical Bias
Daly’s academic training gave her insight into how women’s writing has been historically undervalued. “I looked at a lot of female suffragist writers early on who were writing at the end of the 19th and beginning of the 20th century,” she explains. “They are less well known, but they have lots of novels about what it was to be a woman and female subjectivity.”
These works, Daly noted, “were not well-received critically. It was because they were about emotions and feelings and sometimes male critics don’t like you to talk about that.” This recognition of historical bias against female-centered emotional storytelling would later shape her approach to television development.
At Netflix, Daly made a bold statement by naming her development pod “Melodrama and Romance.” This decision raised eyebrows even among female colleagues. “One of the other female executives asked, ‘Why would you want to call something melodrama?’” Daly recounted. Her answer reflected her mission: to reclaim a term that had been used to diminish stories about women’s emotional lives.
The Double Standard in Entertainment
Daly has pointed to a persistent double standard in how similar storytelling elements are received differently based on gender associations.
“‘Game of Thrones’ is just a soap opera with men in the forest,” she says, highlighting how shows centered on male characters can freely incorporate melodramatic elements without facing the same categorization as “women’s programming.”
Female-focused series often face immediate categorization as “women’s programming” or “guilty pleasures,” regardless of their complexity or craft. This categorization affects how shows are marketed, reviewed, and valued within the industry hierarchy.
Daly’s approach to melodrama represents a fundamental shift in how emotional storytelling is positioned for contemporary audiences. Rather than apologizing for emotional content or attempting to disguise it as something else, she advocates for direct engagement with feelings and relationships as central elements of storytelling.
“I think it’s about a need state. And sometimes you just want to sit down and be bathed in female friendship or something like that. You want a softer moment,” she explains.
The cultural and political climate adds another layer of complexity to the role of emotional storytelling in television. “We’re in a really weird political moment right now,” Daly observes in recent interviews. “Is it your escapism? Do we want to pretend that we’re not living in this moment right now? Or do we want to watch shows that are about people who fight back?”
These questions highlight the dual nature of melodrama in contemporary television—its ability to serve both as comfort viewing and as a means of processing real-world experiences through emotional storytelling. Daly’s work suggests that successful programming must navigate both these functions, providing emotional resonance while acknowledging the complexities of modern life.
Quality and Emotional Authenticity
Lisa Hamilton Daly’s programming philosophy emphasizes that shows centered on feelings and relationships deserve the same level of craft and attention as any other form of television.
“I want to make really high-quality things that speak to women where they are,” she says.
Shows developed under Daly’s guidance at Netflix, including “Virgin River” and “Sweet Magnolias,” exemplify this approach. These series feature nuanced character development, thoughtful exploration of community dynamics, and production values that create immersive small-town settings.
“I have a high hit rate of shows. I have made a lot of shows that have worked really well,” Daly notes. “And I think it’s because I do listen to my instinct.”
The audience response to shows like “Sweet Magnolias” has validated Daly’s approach to female-centered storytelling. The series, which debuted on Netflix in 2020, defied industry expectations to become a sustained success for the platform.
“I just think it’s positive, female-positive portrayals,” Daly says.
