GIRLS5EVA (2021+)

GIRLS5EVA, from the gut-busting mind of Meredith Scardino, is one of the few shows I had to relegate to only watching during the daytime, and while I wasn’t working, because it’s so fucking hilarious that it was distracting and my laughter was prone to waking folks up. This tale, of a girl pop group making a resurgence 20 years later, is a gag-a-minute, and every performance is pitch-perfect. It’s well-worth the peacock subscription solely for it. Don’t believe me? Here, enjoy this litany of jokes:

“So, I dug up our old agreement with Larry and I think he used an old Ringling Bros. contract. Not even for humans; for bears!”

“Well, I’ve always admired that work ethic in the bedroom — it’s bananas — but otherwise it’s too much!”

“Assembly requires four men or nine daughters.”

“Wait, did you make the MAXIM HOT list?”

“Oh, yeah. Oh my god, we got this swag bag from the women’s empowerment luncheon at the Victoria’s Secret Trampoline Park.

“Oh, a temporary tramp stamp. ‘October Sky’, now on VHS.”


“Why am I never the one profiting off of me?”

“You’re all in my will. I have a parrot I haven’t told you about that won’t die.”

“Guess it’s just you and me, Ash.”

“Honestly, too many people left for this to be fun. Now that it’s just the two of us, it’s feeling kind of weird.”

“Don’t quote your sex tape at me!”

“Sorry, the guy from ‘Smallville’.”

“It’s pointless, but it’s what I’m doing!”

What a perfect summation of my pandemic life.


[Findlay] (YouTube) Back in November, I recommended a show called GOOD BEHAVIOR. One facet I didn’t touch on was how amazing the music supervision on the show was*: both seasons were perfectly programmed and introduced me to a litany of acts I’d never heard before, including solo electronic artist Findlay.

The music video for Findlay’s ELECTRIC BONES — directed by Sasha Rainbow — is a vibrant, peculiar POV piece that follows the artist singing through the streets of Paris, selectively pixelating anything that — presumptuously — is considered offensive from the POV, while also incorporating other forms of compression artifacts/glitch art as transitionary devices.

I’m not going to say this video was revolutionary — the practically unplayable video game KANE & LYNCH 2 utilized a similar technique by assuming the POV was a player with a terrible digicam, and anything too violent/sexual often was reduced to a spray of pixelation — but whereas that was stylistic, meant to bend the rules, the abstraction here takes on a more multi-faceted meaning. At first, the pixelation simply blurs out explicit sex, license plates, strangers’ faces. By the end, it’s practically taken over the entire frame, including the bulk of any image that women are a part of.

[NSFW, seriously — yes, it’s pixelated but it hides very little.]

  • This is one area where Spotify truly excels at, as it allows music supervisors to post a proper playlist of songs used for an entire season of TV, unencumbered by licenses and the like, as opposed to trying to hunt and peck through reddit for source lists.

Supplemental links:

LIKE ME (2018)

(AMC+/kanopy/Shudder) Far more intriguing than the description — ‘A reckless loner sets out on a crime spree that she broadcasts on social media.’ — makes it to be. Visually inventive, and it’s nice to see Fessenden in a meaty role again.