Too much Lena Dunham, Lorde’s new album and a book to break your heart: what to watch, listen to and read this week
When I first watched Girls, I remember marvelling at Lena Dunham’s four twenty-something New Yorkers. Sex and the City it was not. I realised wistfully just how much I wished the series had been around when I was in my twenties.
Dunham’s character Hannah Horvath was like a beacon, illuminating the possibilities of how you could just be yourself in this world – good and bad – without apologising for it. I loved her boldness. Girls was messy, awkward, embarrassing, relatable and real. It was also very funny.
Now Dunham brings her latest, similarly awkward comedy-drama, Too Much, to Netflix. The series follows the trials and tribulations of Jess (the brilliant Megan Stalter) as she flees New York for London with a broken heart.
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An American with a romanticised movie-informed idea of Britain, Jess sees Blighty as some kind of fantasy creation fashioned by Jane Austen with a little help from Richard Curtis.
She spends her days obsessing over her ex-boyfriend’s new girlfriend on Instagram and trying to fit into London life. And then she meets laconic musician Felix (Will Sharpe), who is determined to demolish her romantic notions of a Notting Hill-esque London. Discovering they have an instant connection, Jess is thrust back into dating again, still reeling from the PTSD of her previous relationship.
Too Much charts the tumultuous experience of becoming an adult, as Jess experiences all the thrills and vulnerabilities of meeting someone new. Mirroring her own relocation to London, Dunham mines a rich seam of fish-out-of-water comedy as Megan navigates a new city and different culture.
Reviewer Jane Steventon finds the show is a hopeful paean to womanhood, a declaration that messiness, failure and fear are all part of becoming a woman just as much as joy, love and intimacy.
The idea of intimacy takes on a much darker and more troubling meaning in David Cronenberg’s latest body horror Shrouds in which the protagonist Karsh (Vincent Kassel) finds that technology can help him with the grieving process.
Discovering that a piece of wearable tech within a shroud can allow him to watch his wife’s corpse decompose via a video link, Karsh believes this can help reclaim her from her illness. But as the plot progresses, lines blur between Karsh’s dreams and reality and the film becomes darker and more ominous.
This deeply disturbing premise, says film expert Laura Flanagan, allows Cronenberg to explore issues of technology, control and grief, and is all the more chilling when you learn that he embarked on the film after the death of his own wife.
Musical autobiography
Simone de Beauvoir, the great feminist French philosopher, once opined: “One is not born, but rather becomes, a woman.” Meaning, it is down to each woman to articulate and determine her own path and transcend any limits of “femininity” imposed by a patriarchal society.
According to our reviewer Lillian Hingley, the New Zealand singer Lorde unveils that process in her latest album Virgin as she musically explores how her body is changed by what she has been through in her life.
Hingley discovers a multi-layered collection of songs and videos that lead us through a piece of performance art examining identity, sexuality and a female reproductive system that comes fully loaded with both jeopardy and joy.
Last week, the Disney musical Hercules opened in London so we sent along Emma Stafford, professor of Greek culture at the University of Leeds to give us her take.
Despite finding Hercules’ trusty steed Pegasus has been written out of the show and Hades has been somewhat toned down, the innovative role of the five muses has been elevated to a spectacular cross between the chorus of a Greek tragedy and a gospel choir. A terrific cast, impressive visuals, slick stagecraft and magical special effects all mean this high-octane production will delight West End audiences.
The book that won this year’s Women’s Prize for Non-Fiction, The Story of a Heart by Rachel Clarke, has two children at its centre. One is Max Johnson, a healthy nine-year-old whose heart begins to fail, and the other, nine-year-old Keira Ball, a vibrant, pony-mad little girl who is killed in a car accident. Despite their unimaginable grief, Keira’s parents decide to donate her organs. Her precious heart goes to Max, and in that unbearable gift, one child dies, and another child lives.
Leah McLaughlin, a health services researcher who has spent her career working in the emotionally complex and often obscured world of organ donation, found the book a searingly honest account of the hope and despair of this devastating experience.