Each instantiation of the Ripley story claims to be better at something than the ones that went before. This chapter argues that ZaillianZaillian, Steven’s and ScottScott, Andrew’s TomRipley, Tom Ripley is better at playing “nothingnothingness” than in ClémentClément, René’s or MinghellaMinghella, Anthony’s versions. From restraint and flatflatness affect in the acting, to the evocation of difficult empathyempathy, difficult, it is hard to know what to feel about ScottScott, Andrew’s TomRipley, Tom Ripley. Relative to Plein Soleil and Minghella’s The Talented Mr. Ripley, Ripley radically remodels the relationship between the audience and the protagonist, encouraging oscillation between poles of empathizingempathy with TomRipley, Tom and being appalled by him, but finally, settling on reinforcing allegianceallegiance between the spectator and the antiheroantihero, despite his crimes. To achieve this, ZaillianZaillian, Steven capitalizes on contemporary cultural movements and developments in television to create a challenging viewing experience that perversely entertains audiences by making them uncomfortablediscomfort. The series critiques capitalismcapitalism, consumptionconsumption, and identityidentity construction, and prompts viewers to ask hard questions about their own complicity as transnational consumerstransnational consumers in the twenty-first century. This chapter also outlines potential lines of enquiry for future scholarship.