The crazier Richard Shepard’s film gets, the more routine and mechanical it comes to feel.
It incisively probes the connection between the racism of the “liberal elite” and good old-fashioned white supremacy.
The last few minutes of the episode are suffused with the potent mixture of love and bemusement.
The episode deals with several kinds of love: romantic, platonic, and that sparkly feeling somewhere in between.
The tectonic shifts in the inner lives of Girls’s main characters sometimes bring them back together.
The episode belongs to Marnie, who breaks the seal on the superficially successful but spiritually unfulfilling life she’s clung to up until now.
Like a Jane Austen novel, Girls seems obsessed lately with pairing its main characters up with long-term mates.
The season-five premiere of Girls is a microcosm of the series as a whole.
“Daddy Issues” is all about boundaries—the necessary divisions we erect between our public lives and our private ones—and how quickly they can dissolve.
Like much of this season of Girl, the episode focuses on the gap between how we see ourselves and how others see us.
“Close-Up” begins with a tender portrait of romantic devotion that the episode slowly, cunningly upends.
Picking up immediately where last week’s episode left off, “Sit-In,” an impeccably constructed tour de force.
As it fixates on a set of characters languishing in their current situations, “Cubbies” locates the genuine comfort that clichés can offer us.
The episode’s title is an acknowledgement of the agency wielded by the show’s core group of women.
Girls’s attempts at eliciting our empathy for a privileged coterie of navel-gazers can sometimes verge on the indulgent.
Even if “Iowa” is a workhorse of an episode, it bodes well for what comes next.
It more or less resolves the season’s narrative concerns while simultaneously reminding us that such convenient closure is ultimately an illusion.
“I Saw You” reminds us that everyone in the Girls universe is still uncomfortable in their skin, per usual.
“Role-Play” features the best performance of Lena Dunham’s career.
It confirms that Marnie is no longer a sporadically irritating supporting player, but the center of Girls’s empathetic imagination.