It’s so hard to say goodbye to yesterday, unless your yesterday is full of narcissistic monster children desperately clinging to squalor and unhealthy relationships like they’re the mark of a life well lived. Saying goodbye is at the heart of last night’s Girls episode, appropriately titled, “Goodbye Tour.”
Hannah’s facing the prospect of bidding adieu to her friends, her “friends,” her apartment, the city, the streets full of human shit, because she has somehow inexplicably been offered an insane sounding job at some anonymous liberal arts school upstate. Turns out, cranking out a few thinkpieces on the internet can not only make you a viral sensation, earn you a book deal, get you paid thousands of dollars by brands being an “influencer,” but it also somehow makes you a fucking academic now? Cool. (more…)
It’s only after we’ve lost everything that we’re free to do anything
You can’t keep a good man down, but you can keep a bad man from keeping you down. Or at least that seems to be the lesson Hannah, Elijah and Marnie are learning.
After his last performance received rave review (yes, singular) at a high-end retail boutique, Elijah is ready to move on to his next role. This time he’s auditioning for a role in a workshop of White Men Can’t Jump: The Musical. It’s the part he was born to play, as a milk-white gay boy who hasn’t touched a basketball since making skin-to-skin contact with one back in the sixth grade.
The last time he auditioned for anything, it was a commercial announcing the arrival of stuffed crust pizza at Papa John’s. Now he’s got to deal with nerves and a romantic crisis. His ex-boyfriend Dill shows up at his door in the throes of a PR nightmare. Apparently he’s been trying to adopt, but only white babies, and only on the black market. Yikes. (more…)
The more things change, the more things stay the same, except for Hannah, I guess. Her life is facing a slew of changes, and it seems like she’s not only changing too, but changing for the best.
We begin with a very typical salad dinner for Marnie that Hannah has orchestrated to tell her about her pregnancy. (Literally the only carb Marnie could stand at dinner is Hannah’s bun in the oven.) Shockingly, Marnie takes the news of Hannah’s impending motherhood pretty well. It’s not until they disagree over informing the father that the typical sharp edges of their friendship show through. (more…)
What do you get the mom that has nothing? Weed gummies, obviously.
Ready or not, here comes mama. Mama’s talkin’ loud, mama’s doin’ fine, except she’s really not doing fine at all. It’s more like Mama’s eating too many weed gummies and vomiting in Chinese restaurants. Let’s see Bernadette Peters try that.
Hannah’s mom Loreen is in town, and she’s in rough shape. These days she’s got a sweet medical marijuana hookup, and spends her lonely days stoned. As she munches on her first gummy worm, Hannah drops the bomb that she’s pregnant. Loreen reacts with a ton of chill, because she realizes Hannah feels like this really is her baby. (more…)
Papa don’t preach, but also Patrick Wilson don’t preach. Just when you thought this week’ episode of Girls, “Painful Evacuation,” was all out of twists and turns, one shocker followed another until we were so overwhelmed we collapsed right into Elijah’s briefs. Hannah’s in trouble deep.
After last week’s stunning “American Bitch,” an episode that I’ve personally witnessed no less than half a dozen conversations about on the streets of Brooklyn since it aired, we’re back in the throes of our core characters’ daily drama. This was an episode HBO withheld from critics/lowly television recappers, which generally means it’s going to be chock full of surprises. Boy howdy, was it. (more…)
Let’s cut to the chase: Last night’s episode of Girls is not the kind of thing that lends itself to the kinds of flip, jokey recaps we typically produce. In fact, being the one to discuss the episode at all feels slightly icky, as it focuses specifically on the experiences of young women placed in uncomfortable positions where power dynamics complicate consent. (I re-read that last sentence at least six times, and I’m still not sure it properly says what I want it to.) Still, the episode necessitates conversation, and I hope this post creates space in the comments and social media for others to weigh in with their takes. (Plus my editor shot down my earlier attempts of getting out of this.)
Two’s company, but three’s a crowd, unless it’s three people going together to Poughkeepsie, in which case you might need that third person to keep your ex-husband from shimmying down the chimney to get his Oxycontin.
Finally, someone is portraying the real millennial Brooklyn. The one that confronts their Oxycontin ex-husband in Poughkeepsie.
Allow me to explain. Marnie and Desi are still being so gross, and they decide to take a road trip to romantic Poughkeepsie for reasons that remain unclear. To help mask the charade, Hannah tags along. While squirreled away in their cabin, Marnie finds Desi’s mason jar full of Oxycontin, because — twist! — he’s been addicted to Oxy this whole time. Marnie, of course, does the entirely wrong thing, smashing his mason jar and stomping on his stash, turning Desi into a full-blown Marky Mark Fear monster, smashing windows and terrorizing Hannah and Marnie for a weird horror movie segment. The whole situation allows Hannah to drop some knowledge on Marnie: Maybe she didn’t realize her husband was pounding Oxy like they’re fucking Mentos because she’s too busy always thinking of her self. Mind blown. (more…)
You can keep Montauk, just leave us the Rockaways.
Beyoncé once said, “The best revenge is your paper,” which is true, unless you’re Hannah Horvath, and the best revenge is writing about how your best friend stole your boyfriend and you didn’t bother warning her about his oral herpes in the paper of record. The final season of Lena Dunham’s iconic, infuriating, painful and sometimes painfully accurate portrayal of millennial aging and angst kicked off last night by setting its protagonist on a path of something that almost looks like success.
Hannah’s “triumphant” performance on the Moth has led to a Modern Love column in The New York Times which has in turn led to some freelance work for something called SlagMag. The editor (played with perfect emotional disregard by the hilarious Chelsea Peretti) sends Hannah up to Montauk to infiltrate (and inevitably fail at) a bougie surf class for bored ladies. She, of course, fakes an injury to her “front arm” and ditches almost immediately, opting instead to down electric blue cocktails and sun her open vagina. It’s not a total loss, though. She ends up on a whirlwind romantic adventure with the hot (but dim) surf instructor Paul-Louis (The Night Of’s Riz Ahmed) that includes sloppy fucking on a beach, Cheetos, Hangin’ With Mr. Cooper and vomiting off the side of a bunkbed. Oh, and an acoustic jam of soft alt-rock, mid-tempo classic “She’s So High.” (more…)
The Guy (Ben Sinclair) gives us a peek into his own life for the first time in the finale. Photo by Craig Blankenhorn/HBO.
One of the more commonly held themes (maybe even beliefs) about New York is that it is a pit of loneliness, where you can never feel more isolated while surrounded by millions of people. 30 Rock encapsulated New York’s uncanny ability to grind you down perfectly here. This can feel like a shitty city, especially during any given rush hour on the subway. In High Maintenance’s season finale, however, the final story they have to tell is about the kindness of strangers and acquaintances, that sprouts like weeds (nice) through the cracks in the pavement.
This shouldn’t be a surprise. After a season of stories all across the map, this episode focuses on one of its main, underlying themes. This is a city where people don’t just lock their doors, they often deadbolt and chain them. That can start to feel pretty normal after a while, even if you grew up in a rural area where people don’t carry around house keys because the door is always open, but it has a psychic effect as well: we become closed off, silos living in our own personal narratives. High Maintenance is actively trying to fight this mindset, to open us up to the world around us, to the human stories going on right under our noses. Most of all, it’s trying to open us up to our neighbors, either because they can help us, or we can help them. (more…)
Hannibal Buress (playing himself) and The Guy (Ben Sinclair) go deep on meta this week. Photo by Craig Blankenhorn/HBO.
We live in a world where we’re constantly bombarded by media. Our interactions with the world are filtered through our phones, to the point that even television shows conceive of “second screen experiences” for us to look at and interact with when not watching the actual program. Most of us get our news through aggregators of news, repackaging content in smaller, easily digestible, easily forgettable pieces. When a friend tells us they’re “taking a break” from social media and deleting their accounts, it’s pretty commonplace, if maybe seen as a bit extreme. Is there any other technology in our lives that could feel so oppressive, we actually have to physically remove its presence? And yet media is so ubiquitous that we can’t actually escape it, so the result is a strange and tense relationship with media, as this week’s episode, “Selfie” illustrates.
“Selfie” goes heavy on the meta. It’s a creative reflection not just on the characters, but on the series itself. Given how politically fraught this year is, maybe there hasn’t been enough time for High Maintenance to go through the typical cycle of critical acclaim and then suffer the backlash of a thousand think pieces (we hope this is true, at least), but the show’s creators seem happy to confront their own demons before anyone else has a chance. This is a hard look in the mirror that they’re taking, asking themselves if their concept itself is problematic.
The episode doesn’t let us forget that the show traffics in privileged territory, where tales of a drug dealer operating in New York are allowed to be whimsical because the weed dealer, and many of his clients, are white. Whether critics give the show a pass on this or not, creators Katja Blichfeld and Ben Sinclair don’t seem to want it. (more…)