Opinion | HBO's 'Somebody Somewhere' and the Rise of the Female TV Antihero - The New York Times
When we meet Sam, the 40-something protagonist of the HBO dramedy "Somebody Somewhere," she has returned to her hometown, Manhattan, Kan., to care for her dying sister — and finds herself stuck there, single, unhappy, struggling with aging parents and a dead-end job. While her other sister runs a tchotchkes shop and her friend Joel creates vision boards, Sam seems to be moving away from, rather than toward, the objects of middle-class aspiration: marriage, children, job security.
At one point, she tells Joel she's going to spend a Saturday writing up her goals and accomplishments, before chucklingly admitting her real plans: "I like to lay around drinking wine in my underwear."
And why not? It's a relief to see the women of small-screen comedy and dramedy turning their backs on ambition, personal growth and self-actualization. From "Enlightened" to "Broad City," from "Girls" to "I May Destroy You," female protagonists flout expectations that they be hard-working and socially responsible, gravitating instead toward indolence and self-sabotage. They quit their jobs when they get bored; they reject stable relationships, remunerative work and even personal dignity.
It may sound dangerous to celebrate all this narcissism, fecklessness and sloth, but it's also liberating: Who among us has not wanted to ditch a boring job and set their wellness plans on fire? We were already exhausted before lockdowns and day care closures; now, nearly two years into this pandemic, "it's as if our whole society is burned out," wrote Noreen Malone in The New York Times Magazine.
"Somebody Somewhere" is a far cry from the single-girl sitcoms of the past, which have generally followed the arc of the bildungsroman, in which the protagonist develops self-reliance and self-respect, ready to meet the challenges of becoming an adult. These new story lines are, instead, versions of what the feminist scholar Susan Fraiman calls narratives of "unbecoming," featuring protagonists who undermine their own growth and education, and are more likely to be mired in failure than striving toward wedding rings and corner offices.
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