By: Zoe Strickland Managing Editor
Knowing virtually nothing about the aim for the series, besides that it was based off of a bestselling memoir by fashion connoisseur Sophia Amoruso, I was excited when Netflix announced that they would be making a show aptly-named after the memoir of the same title.
“Girlboss” was overall enthralling and I’ll most likely watch it again.
However, I mistakenly went into “Girlboss” thinking that it would pack the same female empowerment punch that the memoir did; that it would be a show that would make me want to sit down and get stuff done.
At the beginning of every episode, it reminds you that, though the show is based off of a memoir, it’s still a “loose retelling of real events.” Readers of the book should take this warning to heart.
My main complaint about the series is that “Girlboss,” to put it bluntly, is a show built for 20-somethings. The main character Sophia, played by Britt Robertson, is snappy and a bit too immature to find endearing. She’s abrasive, a bit entitled and has a problem with taking any criticism or accepting that she needs help from others- even though she clearly does.
On one hand, these attitudes make her more realistic by not presenting her as an idealized go-getter. On the other hand, it plays into her own inability to connect with the characters around her; Sophia’s narcissism leads to the lack of sustained secondary relationships with the other people in her life, which make it difficult to connect with the character on a deeper level.
The cast of secondary characters is gold: RuPaul as Lionel, Sophia’s firecracker neighbor, and Mobias, a vintage shop-owner played by Jim Rash, were my personal favorite members of the cast. They were vibrant and acted almost as older siblings to Sophia. Sophia’s best friend Annie, played by Ellie Reed provided a breath of fresh air in contrast to Sophia’s tendency to be standoffish. However, the main love interest in the show, Shane, played by Johnny Simmons, occupied space as a doormat for Sophia’s problems.
These characters are all delightful in that they did a good job of being harmless, but they’re all too busy coming to Sophia’s aid to actually get their own sufficiently developed storylines. I cared more about them than I cared about the person the series is devoted to. Their storylines have the potential to be far more interesting than Sophia’s.
The plot was strong enough to maintain my interest, but I don’t expect the show to gain many accolades. There were certain threads that could have ended up either making or breaking the integrity of the show’s heroine, and I found it fulfilling to see how the writers dealt with balancing out everything that Sophia has to deal with.
However, the timing of the show needed a lot of work; they packed two years in a mere 13 episodes, and were inconsistent with how each year was represented. The show takes place between 2006 and 2008, but had references to media and events that occurred after the time period that’s shown. It was difficult to look past those minute details and focus on the storyline at hand.
One of the highlights for me was the soundtrack. The music accompanying “Girlboss” was beautifully chosen; the tracks complement the scenes that they accompany while also being kick-butt anthems suited for a heroine like Sophia Marlowe. The soundtrack is somewhat ‘90s and extremely empowering.
“Girlboss” was good, but that’s all it was. If you’re looking for something that will make you want to rally, I’d skip this and go read the book. If you’re looking to kill a few hours and get your mind off of things, “Girlboss” may be the show for you. “Girlboss” is enjoyable, but I’m not about to shout my love for it from the rooftops.
Contact the author at journalmanaging@wou.edu
