). While Bobbi speaks her mind, radiating confidence that can verge on arrogance, Frances is quiet and introspective to the point of being closed off. She avoids talking about her alcoholic father and her debilitating period pain and anything else that would force her to acknowledge unpleasant realities. It’s apparent that their incompatible communication styles—and specifically Frances’ circumspection—catalyzed the breakup.
At a poetry event that kicks off the summer before their final year of undergrad, Frances and Bobbi meet Melissa , an author prominent enough that they recognize her immediately. Charmed by their clever performance piece and palpably attracted to Bobbi, the older woman invites the girls into her tantalizingly grown-up life, complete with expensively decorated house, sophisticated dinner parties, and Croatian vacations.
Faithfully extracted from Rooney’s prose, the show’s dialogue is as purposefully crafted as its characters. A good portion of it appears as emails or text messages, which directors Lenny Abrahamson and Leanne Welham reproduce without gimmickry; we see them displayed on screens, just as the characters would. “It makes me feel really stupid,” Bobbi texts Frances, after discovering that her friend has been lying about something major. “As if we’re in wildly different versions of this friendship.
It’s a pleasure to watch such richly observed characters interact and, in the context of the rare coming-of-age plot that doesn’t kill its immediacy by straining for universality, grow. With so many heroes, villains, and antiheroes warping story lines in cartoonish directions, TV could use more, well,stumbling through days and fumbling in the night, well-intentioned but riddled with regular human flaws.
I'd like to read it one day
clarrissebay another one
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