From ‘Sex’ to ‘Girls’ to ‘Insecure’: HBO’s Feminist and Intersectional Chronicle
“HBO has come a long way in representing the intersectionality of race and gender.”
“HBO has come a long way in representing the intersectionality of race and gender.”
“Here’s to hoping that Meredith Hagner will continue to make us laugh while taking her ludicrous characters seriously for many more years, just like Marilyn Monroe did before her.”
An Essay by Marshall Shaffer
“The lucidity and frankness with which this new wave of filmmakers can dissect their own lives speaks volumes to their talents, boding well for their efforts to come.”
“‘The Social Network’ is a history lesson, but ‘Easy A’ remains coldly ensconced in the here and now.”
“Season 5 of HBO’s ‘Girls’ is now done, and so it is time to bestow upon it ‘one of the all-time best seasons of TV’ accolades.”
“This is the first time in what seems like quite a while that I’ll actively be looking forward to the next season at the end of the current one.”
“Girls is so fucking good this year.”
“‘The Panic in Central Park’ is a richly realized half hour of television, maybe the best episode in the history of a show that’s had some awfully good ones.”
“I know I say this every week, but it must be said again: this is such a good season of Girls.”
“The fourth episode of Girls’ still-terrific fifth season is the first point at which the end of the series comes into sharp focus.”
“Damn, this season of Girls is good.”
“The series may not be as wild and crazy as its earlier and edgier self, but the even strain continues to fit neatly with the theme of maturation.”
“With the series and its central quartet now nearing a more fulsome sense of adulthood, the great delight in Season Five’s debut is in how thoroughly it revels in being a television show.”
“In a way, James White is like a dark riff on the man-child formula, but it also works as a devastating exploration of death and decay.”
“A plethora of likable characters and tidy wrap-ups diminish the artistic potential of While We’re Young, as Baumbach doesn’t compromise the film’s abilities as a general crowdpleaser.”