In this episode, The Good Fight takes on one of the thorniest issues currently facing the tech world—and by extension, the actual world—when Neil Gross comes to the firm and asks them to come up with a plan of action for him to deal with trolls and racist or misogynistic harassment on his social media platform.
Well, that was unexpected. Girls‘ final season just took a completely different direction in its fourth episode, courtesy of a huge reveal that was surprising by virtue of being entirely too conventional. All we need now is a wedding, a funeral, and a tearful going away party, and we’ll have the perfect ending to a very un-Girls-like 90s sitcom.
All right, let’s get to the personal growth rankings: Continue reading →
Previously on Homeland: A social worker took Franny away to a state-registered youth home after being tipped off by a Secretly Evil Dar Adal; Quinn was trapped in a safe house in the country with Astrid, after Dar Adal made a deal; Dar finally told Quinn about how Carrie woke him up to get information out of him; Javadi showed up to New York and got Saul to agree to set up a meeting between himself and the President-Elect; Keane was criticized by a vicious far-right talk show host named Brett O’Keefe.
Happy St. Patrick’s Day!
An amazing human on the internet wrote a hilarious in-depth study of the art collection of Mike and Carol Brady (at wearethemutants.com, found via Longreads). Favorite excerpt: “The wall space in the office vestibule suffered three different paintings in five years. This had a disorienting effect on the kids and may explain why Greg once abducted a goat.”
Margaret Atwood, whose Handmaid’s Tale is going to be on Hulu soon, penned an essay about the book’s sudden relevance to the events of today (via NYTimes).
Vulture writes of The Good Fight‘s strange dualities and inner contradictions. The article is full of clever and unexpected insights. The one thing I think they miss is the duality of the white privilege on the show–the white characters are forced to confront their privilege, yet they are only front-and-center on this show because of an inherently conservative TV structure where known quantities (more likely to be white) get top billing.
We can never resist a good long article on Rebecca Solnit, feminist hero, and inventor of mansplaining. (via Elle)
Well, it was probably inevitable that, at some point, The Good Fight, which opened its pilot with a closeup of a second-wave feminist watching Trump’s inauguration in absolute horror, would eventually take a bigger swing at the president. In this episode, they really go for it, portraying a case whose entire outcome is swayed by one ill-thought-out tweet from the President himself.
We’re back to getting very little real action on Homeland—on the other hand, there is major payoff from a plotline that I was afraid was going to be forgotten forever.
In this episode, Matthew Perry returns to the universe of The Good Fight as Mike Kresteva, the cunning, shameless liar who made life hell for Alicia back in The Good Wife. He is so deep in the role as to be almost unrecognizable as the erstwhile Chandler Bing—it literally took me almost a full episode the first time he showed up, to realize that he was who he was. And he’s fun.
Today is the twentieth anniversary of one of the shows that changed my life (or, since I started watching when I was nine, determined it): Buffy the Vampire Slayer. In so many ways, Buffy is the quintessential 90s show (mostly because of the so-bad-they’re-good outfit choices), but two decades later, it still stands up as a feminist, literary work of art, one that spawned an entire academic field, not to mention an impassioned, opinionated fandom.
There are a few things almost all Buffy fans can agree on: seasons 2, 3, and 5 were the best, Dawn was the fucking worst, and no one cares about Riley. But there are at least a few aspects of Buffyhead dogma that I can’t get behind. Here are my eleven most unpopular opinions about Buffy the Vampire Slayer: Continue reading →
OK guys. I, your dilatory Nashville recapper, have been looking forward to recapping this TRAGICALLY MISOGYNISTIC episode for so long now, and since then, this show has descended into such a pit of bathos and absurdity that I almost… almost… feel bad about making fun of it. But I have assuaged my guilt by reminding myself that the real sufferers here are not the creators of this show but the people who are watching it.
Girls has always been a divisive show, both among the general population and among feminists. I’ve always defended it as an important, if wildly imperfect, show, for all of the usual reasons. Girls portrays women as equally flawed, crass, and indelicate as men (and sometimes, nearly as entitled), and displays the nude female form in a refreshingly desexualized way. But, as many have noted, it is extremely lacking in racial diversity, and is outright racist when a POC does actually appear. And considering how horribly spoiled and myopic all of the characters are, the show often appears to be more concerned with capturing the voice of the stereotypical privileged millennial than that of oppressed women.
“American Bitch” doesn’t change any of that, exactly, but it did single-handedly justify the show’s existence. If you’re going to watch one episode of Girls, make it this one. Not only because it’s conveniently a standalone, but because it’s a damn near perfect half-hour of television that is essentially rape culture in a bottle. Continue reading →