Todd VanDerWerff praises Jane The Virgin for sympathetically depicting characters who don’t spout Hollywood’s default “mushy progressivism”:
The central character, played by the remarkable Gina Rodriguez, is Latina. Much of the show’s dialogue is in Spanish. The family is by no means well-off. And, ultimately, the main character’s religious beliefs — and how they inform her personal politics — are deeply important to the show’s conception of her.
Put simply, this is a show about a virgin by choice (driven by only slightly masked religious beliefs) who is accidentally artificially inseminated, then chooses to keep the baby, because having an abortion is just the sort of thing she would never consider. The show doesn’t really make a big deal about this, but it all happens, all the same. Jane the Virgin is a show about people who are pro-life — written and produced by the much-demonized “Hollywood liberals,” no less — that doesn’t turn preachy or attempt to make much of Jane’s choice. It simply is.
Alyssa calls Jane The Virgin “the exceptionally rare television show to portray religious people not as rubes or bigots, but as smart, compassionate and conflicted.” Margaret Lyons loves the show:
Jane the Virgin is a shining example of how much a show can get away with as long as it takes its characters seriously. The show buys into the idea of Jane, of Jane’s concerns, Jane’s strengths, Jane’s sensibilities. This is the world Jane lives in, and this is the way she feels about it. It sounds so easy! But you don’t need to look at too many other shows to realize this isn’t easy, or at least isn’t common.
Jane is based on the Venezuelan telenovela Juana la Virgen, and it feels at times a little like Pushing Daisies: There’s a whimsical narrator; things feel very fated; we know exactly whom to root for and how much. The show credibly addresses Jane’s option to have an abortion and doesn’t rely only on religiosity to explain why she decides against it. Despite the show’s melodrama, everyone has a backstory, too; the inflated emotions of the show could just kind of float away were they not anchored by authentic, sometimes painful, true ideas. Jane’s grandma isn’t just some Bible-thumper — she’s speaking from experience when she talks about how hard it is to raise children. Jane’s mother didn’t stop having romantic fantasies and personal dreams when she became a mom; she just had to funnel that energy in a different direction. Even in soap-opera crazy-bananas pregnant-virgin world, characters can and ought to contain multitudes.
It’s refreshing to see an unabashedly good person at the center of an hour-long series. Jane is considerate, thoughtful, intelligent, and hard-working. She puts others before herself without a second thought, and yet it never feels like she’s a doormat. This should be a star-making turn for Rodriguez, who handles Jane’s broadly comedic moments as confidently as she does her quietly dramatic ones, and her performance in the role is enough of a reason to tune in by itself.
Hers isn’t the only strong performance. Navedo and Coll play off each other well and have an easy rapport with Rodriguez, giving the Villanueva family instant chemistry and a comfortable, lived-in quality that makes it easy to imagine their years together before the pilot’s instigating event.
Time caught up with the show’s star:
The actress says Jane the Virgin was love at first script. “To read a story about a young girl where her ethnicity wasn’t at the forefront, where her dual identity was so integrated in life that it didn’t feel like a separate conversation, was such a breath of fresh air,” Rodriguez says. The Chicago-born daughter of Puerto Rican parents says she has turned down high-profile roles when she needed the money because she thought the characters were too stereotypical. “I have fought so hard to not take roles,” Rodriguez says. “I had to fight [myself] like, ‘Gina, you can’t pay rent. Are you really going to say no?’”


