I’m a fan of pretty much anything that presents women as they are: complicated, flawed, and real. Despite it being 2017, there’s still this odd thing happening in Hollywood where female characters are forced into a number of boxes, and when any writer is brave enough to help them break out, there’s serious pushback.
I’ve read all kinds of crap about Girlboss’ Sophia (Britt Robertson) being unsympathetic and unlikeable, as well as weird points about NastyGal filing for bankruptcy last year, as if it should somehow cast a shadow on the show’s messages of female empowerment.
Girlboss puts the spotlight on a character who can be stubborn, volatile, frustrating, proud, and careless in so many ways. Whether putting her ego first and friends second, or purposely antagonising online enemies, Sophia’s actions can at times, be hard to watch.
But her many imperfections are what makes this show so perfect. I was screaming at the screen while watching some episodes, but seeing a character who lets those awful but very human traits shine through was hugely satisfying. Like many other entrepreneurs in television and film, Sophia is likely to rub many people the wrong way, but does that mean this show isn’t worthy of your time? Not necessarily.
Girlboss really does bring the goods. Britt Robertson is a treat to watch as she wholly inhabits this carefree, determined and constantly evolving woman. But what really makes this show click in a lot of ways is the brilliant supporting cast, particularly Ellie Reed as Sophia’s BFF Annie, RuPaul as Lionel, Sophia’s hilarious neighbour, and Melanie Lynskey as Gail, who acts as the perfect foil to Sophia’s plans for global domination.
And the music! It’s punk and oh-so fitting for the show’s mid-aughts setting. Suzi Quatro’s The Wild One sets the scene while songs like Modest Mouse’s Float On and Betty Davis’ Nasty Gal fly in at just the right moments.
Much like Sophia’s wardrobe, everything in Girlboss looks effortlessly thrown together. It’s a clever, funny and an utterly addictive watch.