WEB SERIES REVIEW:
The last Netflix series which took over the whole internet to a craze was “13 Reasons Why?” an American drama mystery Web series based on the 2007 novel Thinrteen reasons why by Jay Asher and adapted by Brian Yorkey. The series revolves around a high school student, Dylan Minnet as Clay Jensen , and his friend Kathrine Langford as Hannah Baker , a girl who committed suicide after suffering a series of demoralizing circumstances brought on by select individuals at her school. A box of cassette tapes recorded by Hannah before her suicide details thirteen reasons why she ended her life.
Now we have another interesting series “Girl Boss”
oddly unthinking Netflix debut By Britt Robertson plays “the Cinderella of tech” from dumpster-diving to founding a label
“Girl Boss” tells a stylized version of the true story of Sophia Amorous a down and out dirt bag hipster who turned selling clothes on eBay into the multi million dollar it-fashion label Nasty Gal. The New York Times dubbed her “the Cinderella tech” partly because Amoruso’s story is so outsize: She literally went from rags to riches in her case, from petty theft and dumpster-diving to being worth $280 million.
There’s an interesting story there, but it’s not the story “Girlboss” has alighted on. Hyperbolic tone with Amoruso’s s–show of a life — amused by her casual stealing, comfort with various levels of filth, and total disregard for the feelings of others. It assumes that Amoruso is someone we all know has spun this nastiness into solid gold success.
To its credit, “Girlboss” looks great. The show begins in 2006 San Francisco, with Sophia careening around the city trying to escape the eviction notice taped to her door, and the atmosphere it builds is a captivating, tangible one: Vintage stores, dive bars, dingy apartments, and trying-too-hard mannered young people. “Girlboss” is about Amoruso finding and monetizing her aesthetic sensibilities, so it makes sense that the show has its own style consciousness, alerting the viewer to the idiosyncrasies of the pre-recession hipster scene. Watching Sophia find and resell a vintage leather jacket at the end of the first episode has an inevitable, thrilling, superhero-origin-story feeling to it.
But Sophia herself is a frustrating hero. Robertson brings a manic energy to the character — an overwrought emotionality that is sometimes entirely plausible and sometimes off-puttingly mannered. It’s hard to tell how intentional or nuanced this performance is, because to put it bluntly, Sophia is frequently just awful — a tiny whirlwind who has trouble metabolizing other people’s emotions. “Girlboss” skews young-adult, and shows for teenagers are a little more comfortable showcasing emotional roller coasters. But even with that framework, it’s hard to tell if the show admires Sophia or finds her useful as the butt of every joke. But it is confusing that her grating selfishness appears to read as charm to the other characters in the show. (Maybe that’s the key to Amoruso’s will-to-power success.)
The show feels some Fun, “Girl boss” so strangely renders its goals that it appears to be stuck in its own striving, making for an oddly perfunctory journey. Much like Sophia in 2006, “Girl boss” does not seem to know what it wants to be when it grows up. And while the potential is thrilling, it’s messy, too.
