HBO’s Big Little Lies is the American adaptation of Liane Moriarty’s eponymous novel, which follows the events unfolding among the mothers after a primary school conflict, eventually leading to the murder of Perry, Celeste’s husband. Celeste, along with her friends, Jane, and Madeline, are in the centre of the narrative. In many ways, their situations are similar, although they all embody different approaches to and aspects of traditional gender roles and mothering. As Jane’s son is accused of bullying a classmate, the three women defend Ziggy together, which attitude is then reiterated in the final episode, as all women “draw the lines of allegiance by gender” (Zoller-Seitz, The Vulture) as they stand up to fight their own bully. Throughout season one, which my research focuses on, the women are presented as contemporary counterparts of the white, upper-middle-class women of America in the 1950s, as they all struggle with keeping up the picture-perfect reputation that is expected of them, recalling the frustration that became known as the “problem that has no name” (Friedan, The Feminine Mystique). My claim is that Big Little Lies not only adapts the originally Australian novel to the small screen but also adapts Friedan’s notion to the 21st-century communities. I also focus on the representation of the conventional gender roles and argue that the series offers a new solution to the problem that has no name by subverting the gender roles, culminating in giving agency to the women in passive, victim positions.