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Tina and Louise panic when they realize it must be ultra-obnoxious, annoying Courtney, but Gene is peer-pressed to be her boyfriend.
He meets Courtney's dad, a commercial jingle writer with cool tech; and Gene has found a man-crush.
He gives nothing away, perhaps used to interrogations more perilous than press interviews.
That’s because isn’t a poorly made show; it’s a poorly made moral decision, a decision to remain at the still point of the turning world and retreat into a world that’s hardly larger than a Brooklyn neighborhood where no one has any sense of agency or urgency or dignity or grace., her largely autobiographical mumblecore film about being a recent college graduate loafing about in her mother’s Tri Be Ca loft and searching not so much for something to do as for someone to become, Dunham was celebrated, from the very first, as a bard of her time, a designation with which she seems largely comfortable.
In her show’s first episode, she declares to her parents that the memoir she had written—it’s short, she admits, as she’s yet to have done anything of note—might mean that she’s the voice of her generation, or at least a voice of a generation. It’s better understood as an anthropological field note.
“Anyone whose goal is 'something higher' must expect someday to suffer vertigo. It is the voice of the emptiness below us which tempts and lures us, it is the desire to fall, against which, terrified, we defend ourselves.” ― Milan Kundera, “Making love with a woman and sleeping with a woman are two separate passions, not merely different but opposite.
No, Vertigo is something other than fear of falling.
The scene perfectly captures the emotional pendulum that defines Dunham, her work, and her generation, swinging between a sense of entitlement and a feeling of utter helplessness.
Dunham’s characters feel like they deserve to be heard and seen and adored, but they expect others—parents, bosses, boyfriends—to provide them with the emotional stability and the financial security and the romantic joy they so deeply desire. Her three co-stars are the scions, respectively, of a rock star, a vaunted television-news anchor, and a celebrated playwright.The heavier the burden, the closer our lives come to the earth, the more real and truthful they become. ” ― Milan Kundera, “He suddenly recalled from Plato's Symposium: People were hermaphrodites until God split then in two, and now all the halves wander the world over seeking one another.Conversely, the absolute absence of burden causes man to be lighter than air, to soar into heights, take leave of the earth and his earthly being, and become only half real, his movements as free as they are insignificant. Love is the longing for the half of ourselves we have lost.” ― Milan Kundera, “She had an overwhelming desire to tell him, like the most banal of women.He might also, if you want to know the truth, be the world's greatest film director.One of the pleasures of foreign travel for Zhang Yimou is to play at anonymity. well, imagine a cross between Steven Spielberg and Warren Beatty.Love does not make itself felt in the desire for copulation (a desire that extends to an infinite number of women) but in the desire for shared sleep (a desire limited to one woman).” ― Milan Kundera, “for there is nothing heavier than compassion.