Desire, a transformative force, is one of contemporary serial narratives’ most intricate and multifaceted dimensions. Far from being reducible to a mere representation of sexual attraction, desire in television seriality operates as a prism through which to explore issues of intimacy, identity, and power. This paper seeks to analyze how desire is staged and problematised within a set of emblematic series that have significantly shaped contemporary cultural imagination. Grey’s Anatomy explores the entanglement of desire with professional life, emotional fragility, and collective trauma, constructing narratives where eros intersects with affective labour and the negotiation of identity within high-pressure contexts. Sex and the City proposes a very different model, placing female desire at the centre as a space of autonomy, experimentation, and confrontation with the normative frameworks of late capitalist society. By contrast, The Handmaid’s Tale reimagines desire within a dystopian theocracy, assigning it an overtly political function: here, erotic impulses and affective attachments become acts of resistance against systemic repression and biopolitical control. More recently, Sex Education embodies a cultural shift, presenting desire through a plural and inclusive lens that embraces diversity of sexual orientation, gender identity, and relational practices. These case studies, when viewed collectively, reveal how television series rework cultural codes of sexuality and intimacy, producing new imaginaries of the body, pleasure, and identity. In this perspective, serial narratives emerge as key cultural laboratories, reproducing and challenging dominant ideologies of desire while offering audiences opportunities for recognition, critique, and affective engagement beyond the screen.
Francesca Medaglia (Mon,) studied this question.