plotlines and misogynist tropes with a tiny grain of salt and chalk
it up to an uninformed artist while adding the series to their list of
modern sitcoms that, when it comes to gendered stereotypes,
aren’t quite as modern as we thought. Dunham is not, however,
just some uninformed artist. She claims feminism and, therefore,
her nearly autobiographical work is aligned with feminism. For
proponents of an intersectional, politically active feminism, this is
a problem. Postfeminist media masquerading as feminism is
missing out on an opportunity to educate its viewership on the real
issues feminism looks to address; or worse, it is actively
misinforming viewers about what it means to hold feminist ideals.
The series finale of Girls, entitled “Latching,” is a fitting
end to the story of Hannah and her friends, if only because it’s as
complicated and frequently frustrating as the rest of the series.
Having moved into a cute, Upstate home with Marnie to raise her
newborn child, Hannah is predictably a mess. Unable to get her
son, Grover, to latch and breastfeed, Hannah spirals back into self-
pity and a dependent-yet-emotionally-abusive relationship with
Marnie (a relationship that Marnie, not incidentally, chooses to
avoid taking responsibility for her own life). She’s only allowed her
moment of clarity by the one-two punch of her mother’s wisdom
and an encounter with a runaway teen who, pants-less and
overdramatic, forces Hannah to face a mirror to her own relentless
self-absorption. After giving the girl her pants and shoes, Hannah
walks home to her mother, her best friend, and (soon) a crying
child. Ascending the stairs to his bedroom, she takes Grover into
her arms and successfully nurses him. She is happy.
After years of pushing back and crawling forward and
attempting to assert her independence from parents, men, and
friends, it is in this blissful scene of domesticity that Hannah finds
her adulthood. And, while motherhood is not anti-feminist it’s
complicated and, in fact, necessary for human survival this
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