MargeSherwood, Marge Sherwood as ZaillianZaillian, Steven and Dakota FanningFanning, Dakota create her is more agentic than previous adaptations’ versions of MargeSherwood, Marge, but also more complex and less sympatheticsympathy. She is possessive, opportunistic, and above all, presents obstacles to the series’ protagonist, TomRipley, Tom. ZaillianZaillian, Steven reproduces some of HighsmithHighsmith, Patricia’s internalized misogyny in insisting on MargeSherwood, Marge’s disorderly female embodimentembodiment, but also updates her, so that she becomes the kind of “difficult womandifficult woman” who is made to be hated in contemporary antiheroantihero television (Pinedo, 2021). This bespeaks the masculinism of antiheroantihero series in general, which Ripley does not escape (Castellano & Meimaridis, 2023; Hagelin & Silverman, 2022). ZaillianZaillian, Steven and FanningFanning, Dakota interestingly complicate and amplify the figure of MargeSherwood, Marge, while restoring some of HighsmithHighsmith, Patricia’s ambivalence. These choices take us beyond easy empathyempathy, easy. If one feels empathy for MargeSherwood, Marge in Ripley, it is difficult empathyempathy, difficult.