In the first episode we are introduced to Lidia, a young woman in 1870s Italy who dreams of becoming a lawyer despite societal norms that dictate women should be homemakers and wives. Lidia's chance to prove herself comes when she takes on the case of Pietro Baiocchi, who is accused of murdering a ballerina named Adele Valery.
Despite facing resistance from the male-dominated legal system, Lidia uses her instincts and intelligence to try and crack the case. She attends Adele's funeral to gather information and works with a journalist to publish a fake story to catch the real killer. Ultimately, Lidia's efforts pay off, and she is able to prove Pietro's innocence and catch the true culprit, Carlo's father Ludovico.
Throughout the episode, viewers see the challenges Lidia faces as a woman trying to break into a male-dominated field. She is rejected from the Bar Association, faces criticism from her own brother, and is told that God created women for domestic purposes. Despite all of this, Lidia remains dedicated to her career and her clients, proving that women are just as capable as men when given the opportunity.
In the second episode, Lidia takes on the case of Anita, an anarchist whose carriage was used to dump the body of her friend, Elena De Santis. Despite Lidia's help with the previous case, the authorities still don't allow her to be part of the association. Enrico, Lidia's brother, doesn't agree to proceed with her plans, so Lidia has to figure out the case alone. Lidia investigates the factory owners who have hated anarchists for a long time, and discovers that the factory's commendator had feminine designs around his room, which hinted that the chocolate factory worked according to Elena's wishes, which may have been threatening to the other family members. Lidia concludes that Leone De Santis, the owner's son, had killed Elena out of hatred, as he knew his father would have fallen in love with Elena, but he couldn't have risked his position at the chocolate factory.
Lidia uncovers another angle to the case: Elena and Anita had feelings for each other, but the concept of two women dating each other was considered taboo, and there was a huge chance that Elena had been killed for this reason. Lidia and Enrico had to bring this angle to light even though it would tarnish Anita's reputation in society and with her family. Lidia breaks into the commendator's office to get some clues, where she finds a knife that had been recently polished, and a dismissal letter written by Elena to dismiss Rodolfo Fumigi, who had been working with the commendator from day one. When Lidia questions Fumigi about the letter, he reacts badly, mainly out of fear. Fumigi eventually accepts that he had been responsible for Elena's death. In the end, Lidia's predictions prove true, and justice is served.
In the third episode, Lidia deals with another murder case involving Vittorio Muraro, a man she was once engaged to. Vittorio's father, Antonio, has been murdered, and Lidia discovers that Vittorio's brother, Alberto, is the killer. After Lidia breaks into the Muraro mansion and uncovers evidence, she and Enrico provide the proof to the judge, and Alberto and his accomplice, Beatrice, are arrested. The episode also explores Lidia's past with Vittorio and reveals that her father had gambling debts with Antonio that led to the sale of their villa. Lidia's success in the case shows that justice can prevail, even for women.
In the fourth episode Lidia worked to prove the innocence of Margherita Sangiacomo, who was accused of murdering Professor Braschi. Lidia discovered that some professors had been using young girls to conduct illegal experiments on them, and she found these details in Margherita's files. She had articles that were at least seventeen years old. Margherita had been the killer, and Antonio and Braschi were responsible for the death of her mother, and she wanted to avenge it. Margherita wanted these professors to pay for their crimes because they had killed poor women who were working to earn money for their families. Even though all the evidence was in favor of Margherita, she still chose to confess her crime. Lidia was unable to solve this case because of its complex nature, which involved contrasting concepts that confused her towards the end.
In the fifth episode Lidia takes the case of Azzura, a prostitute arrested for the murder of wealthy and cruel Achille Castelnuovo. Lidia discovers a connection between Achille and his business partner, Massimo Chiaia, through Madame Crespal, a clairvoyant. Lidia and Crespal try to summon Achille's spirit, but Lidia's father's spirit comes instead. Lidia believes that Crespal is a pathological liar and that she is lying to hide the truth. Lidia discovers that Massimo had been involved in Achille's murder and that he had planned to kill Achille's sister-in-law, Giuditta Ancelli, who had witnessed the murder. Lidia saves Giuditta from Massimo's attack and helps her get the medical attention she needs. Lidia manages to catch Massimo red-handed and solve the case.
The final episode had an emotional impact on Lidia's life. Jacopo had been arrested for the murder of a prostitute named Maya, and Lidia had to save him from a crime he had not committed. Enrico agreed to fight the case, but Lidia had to convince him to visit the brothel to question other girls about Maya's disappearance. Lidia discovered that Maya had been a spy for General Valery and had been fooling Jacopo into confiding in her. Maya was actually Giorgia Villa, who had been working with Nicole and Louis, other anarchists. Lidia managed to find out that Nicole and Louis had killed Maya to get their revenge.
Lidia stole the money to bribe the conductor and gave it to Nicole, but Louis tried to kill her, and in their scuffle, Louis fell from the train. Nicole confessed her crimes to the prosecutor, and the case was solved. Lidia's popularity grew, and many women and journalists came to meet her. However, the court still rejected her appeal to register with the Turin Bar Association. In the end, Lidia chose to leave without Enrico's knowledge. Whether she left or not is ambiguous, but Lidia had been the only woman who fought for her dreams, and if she had left, thousands of Italian women wouldn't be able to follow in her footsteps.
Despite facing resistance from the male-dominated legal system, Lidia uses her instincts and intelligence to try and crack the case. She attends Adele's funeral to gather information and works with a journalist to publish a fake story to catch the real killer. Ultimately, Lidia's efforts pay off, and she is able to prove Pietro's innocence and catch the true culprit, Carlo's father Ludovico.
Throughout the episode, viewers see the challenges Lidia faces as a woman trying to break into a male-dominated field. She is rejected from the Bar Association, faces criticism from her own brother, and is told that God created women for domestic purposes. Despite all of this, Lidia remains dedicated to her career and her clients, proving that women are just as capable as men when given the opportunity.
In the second episode, Lidia takes on the case of Anita, an anarchist whose carriage was used to dump the body of her friend, Elena De Santis. Despite Lidia's help with the previous case, the authorities still don't allow her to be part of the association. Enrico, Lidia's brother, doesn't agree to proceed with her plans, so Lidia has to figure out the case alone. Lidia investigates the factory owners who have hated anarchists for a long time, and discovers that the factory's commendator had feminine designs around his room, which hinted that the chocolate factory worked according to Elena's wishes, which may have been threatening to the other family members. Lidia concludes that Leone De Santis, the owner's son, had killed Elena out of hatred, as he knew his father would have fallen in love with Elena, but he couldn't have risked his position at the chocolate factory.
Lidia uncovers another angle to the case: Elena and Anita had feelings for each other, but the concept of two women dating each other was considered taboo, and there was a huge chance that Elena had been killed for this reason. Lidia and Enrico had to bring this angle to light even though it would tarnish Anita's reputation in society and with her family. Lidia breaks into the commendator's office to get some clues, where she finds a knife that had been recently polished, and a dismissal letter written by Elena to dismiss Rodolfo Fumigi, who had been working with the commendator from day one. When Lidia questions Fumigi about the letter, he reacts badly, mainly out of fear. Fumigi eventually accepts that he had been responsible for Elena's death. In the end, Lidia's predictions prove true, and justice is served.
In the third episode, Lidia deals with another murder case involving Vittorio Muraro, a man she was once engaged to. Vittorio's father, Antonio, has been murdered, and Lidia discovers that Vittorio's brother, Alberto, is the killer. After Lidia breaks into the Muraro mansion and uncovers evidence, she and Enrico provide the proof to the judge, and Alberto and his accomplice, Beatrice, are arrested. The episode also explores Lidia's past with Vittorio and reveals that her father had gambling debts with Antonio that led to the sale of their villa. Lidia's success in the case shows that justice can prevail, even for women.
In the fourth episode Lidia worked to prove the innocence of Margherita Sangiacomo, who was accused of murdering Professor Braschi. Lidia discovered that some professors had been using young girls to conduct illegal experiments on them, and she found these details in Margherita's files. She had articles that were at least seventeen years old. Margherita had been the killer, and Antonio and Braschi were responsible for the death of her mother, and she wanted to avenge it. Margherita wanted these professors to pay for their crimes because they had killed poor women who were working to earn money for their families. Even though all the evidence was in favor of Margherita, she still chose to confess her crime. Lidia was unable to solve this case because of its complex nature, which involved contrasting concepts that confused her towards the end.
In the fifth episode Lidia takes the case of Azzura, a prostitute arrested for the murder of wealthy and cruel Achille Castelnuovo. Lidia discovers a connection between Achille and his business partner, Massimo Chiaia, through Madame Crespal, a clairvoyant. Lidia and Crespal try to summon Achille's spirit, but Lidia's father's spirit comes instead. Lidia believes that Crespal is a pathological liar and that she is lying to hide the truth. Lidia discovers that Massimo had been involved in Achille's murder and that he had planned to kill Achille's sister-in-law, Giuditta Ancelli, who had witnessed the murder. Lidia saves Giuditta from Massimo's attack and helps her get the medical attention she needs. Lidia manages to catch Massimo red-handed and solve the case.
The final episode had an emotional impact on Lidia's life. Jacopo had been arrested for the murder of a prostitute named Maya, and Lidia had to save him from a crime he had not committed. Enrico agreed to fight the case, but Lidia had to convince him to visit the brothel to question other girls about Maya's disappearance. Lidia discovered that Maya had been a spy for General Valery and had been fooling Jacopo into confiding in her. Maya was actually Giorgia Villa, who had been working with Nicole and Louis, other anarchists. Lidia managed to find out that Nicole and Louis had killed Maya to get their revenge.
Lidia stole the money to bribe the conductor and gave it to Nicole, but Louis tried to kill her, and in their scuffle, Louis fell from the train. Nicole confessed her crimes to the prosecutor, and the case was solved. Lidia's popularity grew, and many women and journalists came to meet her. However, the court still rejected her appeal to register with the Turin Bar Association. In the end, Lidia chose to leave without Enrico's knowledge. Whether she left or not is ambiguous, but Lidia had been the only woman who fought for her dreams, and if she had left, thousands of Italian women wouldn't be able to follow in her footsteps.