“When we started we were a little worried that people would find it sexist and we are really careful about what we tweet. We try not to put anything about violence or (that is) sexist or mean spirited. We kind of take a reverential tone. We know that the funny part to us in the tweets is the complexity of them and the way they can be read, and we respect that. It’s more of an observation. It feels pretty benign and everybody’s in on the joke. We’re just happy that the tone comes through.”
Sheppard says they decided to do the film in drag in part because they thought it would look funnier and also take some of the edge off. Humphrey and Sheppard are a couple. Sheppard says that gives them perspective on the things girls say and is likely one reason women enjoy their work.
“Coming from a gay man, it’s a little less threatening than, say, a guy or even a woman acting the part. We kind of have an alliance with women, we’re privy to their conversations. We grew up around women. We also have the advantage of being on the outside looking in,” he says.
pts: I really hate Stuff White People Like, decani, but the reason it's still basically okay and this is basically not okay has to do with where real-world power lies in both cases.
Mocking the powerful is comedy.
Mocking the oppressed is oppression
yeolcoatl: *DISCLAIMER: The sliding scale of powerful to oppressed does not exist. "I'm more oppressed than you" is a terrible game to play.
Sometimes a spade, truly is.
Hitchcock once said that a great story was life with all the dull parts cut out: what makes Girls so hypnotic is the sharp precision of writers and creators Kyle Humphrey and Graydon Sheppard in capturing and presenting small-talk—those Hitchcockian dull parts—as the main focus instead. There isn’t a better time for the idea, firmly rooted in the status update era that rewards both instancy and brevity.
The lines pulled from context reduce people to something akin to a reality-television contestants—especially the one who announces he or she “is not here to make friends!” with a false sense of autonomy: there’s a horror to realizing you speak off a script you didn’t even know existed. And for many people that script, written by gender norms, is flawlessly executed by Sheppard’s hair-fiddling, wide-eyed, faux-coy character.
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