Abstract:The series Miss Fisher’s Murder Mysteries (2011–15) and the film Miss Fisher and the Crypt of Tears (2020) are examples of female-led transnational quality drama. This article argues that both the characters and the series itself are good examples of the negotiations of identity required both of the postmodern layered (Straubhaar 2007, 2012) or fractured but functional globalized or transnational self, which can give the series increased emotional resonance to the modern audience at a ‘safe’ temporal remove. T… Show more
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