Girlboss (2017) Review

As a film reviewer I sometimes have difficulty understanding the perception of others especially when it comes to pop-culture, memoirs, and art in contemporary society. The New York Times published a review by Mike Hale called, "In Netflix 'Girlboss,' a Heroine Who's a Tough Sell." About two paragraphs into the review I cry out, "Oh for Pete's sake, did you watch the series?" Hale writes, "If you don't know a woman whom you'll love despite her characteristic anger, obsessiveness, insensitivity and refusal to listen to others, you may dismiss Sophia as a caricature. If you do, one moment after another in "Girlboss" will ring surprisingly true."

Hold it.

Did Hale actually watch the Netflix 2017 TV series Girlboss because I am having difficulty understanding his critique of Britt Robertson's character Sophia Marlowe. Girlboss is sarcastic, clever, and laugh-out-loud-hilarious minus the imaginative girl fight via online chatting. And, yes, it  loosely follows the life of, e-commerce mogul and founder of Nasty Girl, Sophia Amoruso.

More importantly it speaks to a generation that seeks instant gratification. A generation that breaks the rules of traditionalism and expectations: graduate from high school, go to a good college, get a top-notch paying job with excellent benefits (i.e. matching 401K, health insurance, and life insurance),  get married, have children, buy a house, drive a hybrid, and have a couple of dogs, collect social security, retire, then die.

No. No. No.

Sophia defies all that. Sophia represents the millennial generation. The generation that chucks tradition out the window and claims purpose. After all, was't it  Mark Twain who once said, "The two most important days in your life are the day you are born and the day you find out why." In Sophia's case it just so happens to be an original 1970s calfskin motorcycle jacket that gives her purpose, a reason to get out of bed in the morning, an explanation as to why she sucks as being an employee, a daughter, friend, and girlfriend.

Britt Robertson does bring fictional Sophia to life as a relatable character. First, she is a woman in a man's world. Second, she is a woman in a dog-eat-dog world. Third, she is a woman in a man's dog-eat-dog world. Robertson brings that Janice Dickinson I. Don't. Take. Crap. From. Anybody spirit by banging down doors, or in this case taking out malignant-cancerous-typing-whining-competition- meatheads who dislike Sophia's consignment shop flipping, clothes profiting online business.

So, Mr. Mike Hale, how is fictional Sophia not relatable?  Yes, she maybe, "defensive, selfish, and irritating." But, so was or is Janice Dickinson and nobody seemed to forget about her loud narcissistic, middle finger in the air, personality. I don't think anybody anytime soon from the millennial generation will forget who Sophia Amoruso is either.

Good job Netflix for bringing a little bit of sass to a bunch of instant gratifying millennials.