‘Girls’ Cast Reunite 50 Years Later on Jimmy Kimmel

As the sixth and final season of “Girls” approaches its end, the popular HBO show’s cast stopped by “Jimmy Kimmel” for some last minute press opportunities, this time to do a parody of the show fifty years later, when the series has been renamed “The Golden ‘Girls.'”

In the elderly reunion, Lena Dunham’s character Hannah writes about STDs for the gang’s elderly living community’s newsletter, Marnie is trying to draw attention during a knee surgery party, Jessa is picking up cigarettes at the grocery store, and Shoshanna is scolding people for not being “woke” from behind her walker. Kimmel himself makes an appearance as a male stripper named Officer Sausage, and Andrew Rannell’s Elijah returns, apparently not having aged at all in the past half century.

Take a look below:

“Girls” will end forever on April 16, with the last episode titled “Latching.”

Robyn Debuts New Track on Last Night’s ‘Girls’

Last night’s episode of “Girls” delivered us more than reactions to Hannah’s pregnancy and clips from Adam and Jessa’s god-awful movie: we also got to hear the dulcet and much-needed tones of a new Robyn song. “Honey” (the song’s title, according to Shazam) plays as the episode, titled “Full Disclosure,” comes to an end, and has already been ripped from HBO Go and posted to SoundCloud, with minimal dialogue from the episode still present.

“Honey” marks the first new piece of Robyn music since last year’s RMX/RBN, a remix album reworking some of the artist’s biggest hits. Here’s to praying the single is part of a larger new record!

The Swedish songstress had teased that something fun might be coming on last night’s “Girls” in a Facebook post and corresponding fun little photo shoot:

Lena Dunham Shares Body Positive Short Essay About ‘Glamour’ Cover Shoot

Lena Dunham and the cast of Girls are the latest ladies to grace the cover of Glamour, looking fabulous in the latest platform party shoes from Marc Jacobs. Dunham took to Instagram to post a short body positive essay about the photoshoot and it’s importance, as while as her own personal struggle with body image and society’s reactions to the way she looks.

She begins: “Okay, here goes: throughout my teens I was told, in no uncertain terms, that I was fucking funny looking. Potbelly, rabbit teeth, knock knees- I could never seem to get it right and it haunted my every move.”

Dunham continues: “I posed as the sassy confident one, secretly horrified and hurt by careless comments and hostility. Let’s get something straight: I didn’t hate what I looked like- I hated the culture that was telling me to hate it. When my career started, some people celebrated my look but always through the lens of ‘isn’t she brave? Isn’t it such a bold move to show THAT body on TV?'”

And concludes: “Today this body is on the cover of a magazine that millions of women will read, without photoshop, my thigh on full imperfect display. Whether you agree with my politics, like my show or connect to what I do, it doesn’t matter- my body isn’t fair game. No one’s is, no matter their size, color, gender identity, and there’s a place for us all in popular culture to be recognized as beautiful.”

You can read the full interview with the Girls cast at Glamour, as well as see their vibrant photoshoot. And check out Dunham’s full post below.

Okay, here goes: throughout my teens I was told, in no uncertain terms, that I was fucking funny looking. Potbelly, rabbit teeth, knock knees- I could never seem to get it right and it haunted my every move. I posed as the sassy confident one, secretly horrified and hurt by careless comments and hostility. Let’s get something straight: I didn’t hate what I looked like- I hated the culture that was telling me to hate it. When my career started, some people celebrated my look but always through the lens of “isn’t she brave? Isn’t it such a bold move to show THAT body on TV?” Then there were the legions of trolls who made high school teasing look like a damned joke with the violent threats they heaped on, the sickening insults that made me ache for teen girls like me who might be reading my comments. Well, today this body is on the cover of a magazine that millions of women will read, without photoshop, my thigh on full imperfect display. Whether you agree with my politics, like my show or connect to what I do, it doesn’t matter- my body isn’t fair game. No one’s is, no matter their size, color, gender identity, and there’s a place for us all in popular culture to be recognized as beautiful. Haters are gonna have to get more intellectual and creative with their disses in 2017 because none of us are going to be scared into muumuus by faceless basement dwellers, or cruel blogs, or even our partners and friends. Thank you to the women in Hollywood (and on Instagram!) leading the way, inspiring and normalizing the female form in EVERY form, and thank you to @glamourmag for letting my cellulite do the damn thing on news stands everywhere today Love you all.

A photo posted by Lena Dunham (@lenadunham) on

The 10 Best TV Quotes of 2016

Unless you live under a rock, you know two things about 2016: firstly, it was a real-life nightmare, and secondly, it was packed with some really incredible television. It would be impossible to give a definitive list of the best zingers of the year – there’s too much TV and too many one-liners to ever be able to narrow it down to double digits. But, for brevity’s sake, we’ve done our best. So, below, enjoy ten of our favorite lines from 2016’s year of TV:

Shelly on ‘Transparent’


Ok, wow. Shelly singing “One Hand in My Pocket” on Transparent season 3’s finale was one of the most emotional and heartwarming moments of the year. Truly incredible: “I’m brave but I’m chickenshit.”

Bojack on ‘Bojack Horseman’


At the end of an entirely wordless underwater episode, which, incidentally, was recently named the best episode of television in 2016 by TIME magazine, Bojack realizes he’s been able to talk the whole time by pressing a button – hence: “Oh, you’ve got to be kidding me.”

Sam Bee on ‘Full Frontal’

Sam Bee is the powerful, no-shits-given, uncensored voice we needed during this nightmarish election season. One choice zinger that comes to mind: “Let’s just have a Supreme Court vacancy for a year because some chinless dildo wants a justice who will use his gavel to plug up your abortion hole.”

Maeve on ‘Westworld’


If anyone has proven the surprise queen on TV this year, it’s Maeve, who, in the course of her self-actualization and decision to escape her theme-park home, ups her brain function to full capacity. Turning to the Westworld employees helping her on her journey, she smirks, and says, “Dear boys. We’re going to have some fun, aren’t we?”

Earn on ‘Atlanta’

Atlanta proved to be one of the most compelling, real shows of the year, as made clear by this line from Earn: “This spooky thing called slavery happened and my entire ethnic identity was erased.”

Hannah on ‘Girls’


Girls season 5 was one of the best the show has ever seen, and Hannah in particular was on fire. While she had a lot of great gems this season, we decided to go with the simple, hilarious “I’ve been eating Bugles my whole life, and I still don’t know if I even like them, it’s just something to do.”

Eleven on ‘Stranger Things’

We’d be remiss if we left off our girl Eleven from this list. While she was never very wordy, what she did manage to mumble always rang true. Like this gem: “Friends don’t lie.” Short, elegant, and a little menacing – just like Eleven!

Alec Baldwin on ‘SNL’


Alec Baldwin’s impersonation of Trump on SNL is already legendary, and historic thanks to Trump’s backlash. The most iconic moment? Probably when Baldwin-as-Trump kissed a KKK costume onstage, and called him “Sweetie.”

Vicky on ‘The Characters’


John Early is slaying this year – he’s been in a million movies and is a lead role in Search Party on TBS. But he’s been our lord and savior since his Characters episode, when he stole our hearts as Vicky, barking: “Honey, I’m serious, I’m looking for my denim.”

Arya Stark on ‘Game of Thrones’

Game of Thrones was craaaazy this year. And while Arya has always been close to our heart, we have to admit we were kind of over her giving up her identity to be an assassin. So we’re so happy to hear her decide to go a different route in life, and proclaim proudly: “A girl is Arya Stark, and I’m going home.”

5 Highlights From Last Night’s GIRLS Season Finale: Declare Independence, Lean In

Adam Driver, Lena Dunham, Girls, TV


It may be time for Girls to say goodbye for now, but looking back on the fourth season, it’s hard to say that it left much of an impression. Lena Dunham’s hit series began to seriously lack momentum this time around, with dramatic conflict shoehorned into all of Dunham’s pet obsessions: self-aggrandizing performance art, the lows of creative nonfiction, co-dependent relationships and antiseptic sexuality. All hot topics, to be sure, but the sense of a narrative seemingly evaporated. Remember how fast Hannah left Iowa? That entire episode about Mimi-Rose? What about Marnie’s jazz brunch gigs? Those now feel like distant memories (or dull callbacks) from the ten-week journey we’ve spent with these characters, and it’s because the show rarely hints at a world outside of its own bubble.

What once made Girls so unlike anything else on television was its defiance in never giving us the closure wanted, with a nearly anarchic subversion of any momentum its characters had going for them. It made newly trenchant observations of how petty and easily thwarted one’s ambitions can seem in a teeming, multicultural landscape like New York. But this attitude can only reinvent itself so many times without challenging the culture at large. Instead, Dunham favors her own depictions of lives marred by boredom and nostalgia, and as the world spins outside of our HBO GO accounts, her characters feel smaller and less significant the more we spend time with them. I think it may be time to meet some new friends.

Alas, here are 5 highlights from last night’s Girls finale.


“Marriage is such an outmoded concept,” claims Desi to his new record producer, “but until they invent something better, this is the best way to express my devotion to Marnie.” Tired of keeping a straight face in light of his ex-lover’s recent betrothal, Ray is completely honest when Desi confronts him about any bad blood there might be between them. “I fucking hate you.” And no, it’s not the whole Pacific Northwest thing. Desi has always been an egomaniacal prick, and despite his horrible behavior, Marnie will always underestimate herself and take him back. It’s wild to see how much faith Ray still has in Marnie, and to think that he would spend his considerable ambition and intellect into keeping her happy. Love may be blind as ever, but Desi’s reaction to this takedown is to leave the episode and never come back.


We finally had the gratification of watching Shoshana ace an interview for a marketing position, but there’s a twist: the job would outsource her to Tokyo. The most important question of the episode (personally speaking) became: is Jason Ritter really worth it? He implores Shosh not to take the job; to stay in New York and work for his company (the position she originally interviewed for, mind you). After all, he explains: “I’m going to be in love with you soon.” Love is conditional for the characters on Girls, but it’s a goal they’re willing to work around. She goes to Ray’s café to try and ask him for advice, but unfortunately, he’s not there. (Let’s beat the dead horse of Ray and Shosh’s relationship one more time.) Yet Ray’s migraine-fraught superior reminds Shosh of the tenets of Sheryl Sandberg’s bestseller, and she makes what is clearly the right decision.



There were two guest stars this episode, both memorable for very different reasons. Spike Jonze played against his nebbishy nice-guy persona as the record label president repping Desi and Marnie’s band, giving too much personal information about his failed marriage and effectively souring any hope of Marnie and Desi’s long-term happiness (nice work!). Gaby Hoffman, fearless as usual, returned as Adam’s pregnant sister in perhaps the lengthiest nude scene in the show’s history, as Hannah and Jessa tried to get her out of the bathtub and into the hospital. The shouting match between her, Adam and her husband Laird played merely like fireworks, and the situation was a trite placeholder for Adam and Hannah’s long-overdue reconciliation.


Looking over his sister’s newborn baby, Adam tells Hannah that it’s over with Mimi-Rose, and that he misses her. Too little, too late—she tells him he’s tired and that he’ll get over it. Ignoring his protests, it was a relief to see Hannah not give into Adam, and letting this rather played out, multiple-season-long drama end once and for all.

When Hannah calls her parents from the hospital, we find them in a negative state, with Hannah’s mom disparaging her “cowardly” husband as he sits next to her at the table. “You have your whole life ahead of you, and not to waste it on one man,” she says. But then a title card takes us six months into the future, only to find a well-adjusted Hannah with her new beau, Fran (Jake Lacy)— presumably having forgiven her crazy ways. Is this a muddled message for Girls viewers regarding the merits of monogamy, or is Dunham complicating her narrative on purpose? I’m frankly puzzled by this last bit of provocation, but I hope Dunham finds it in herself to give us a more coherent statement when she returns.

GIRLS Fashion Recap: What to Wear in Local Politics

“Daddy Issues” made for an excellent penultimate episode of GIRLS’ fourth season, brimming with outfits that seemed to bring us back to the essential nature of our four little disasters.


Hannah’s work attire is improved on her top-half. A little twee double collar situation (the shirt collar printed with mini chairs), but her skirt is definitely too tight (and ill-fitting) for her gig. But she’s got tights on. So, ten points for tights.

Also, Cleo might be the best-dressed character on this show.

shosh political dress 1

Shosh looks so cute in her campaigning getup. Ray’s button-down, while perhaps dressier than his day-to-day attire, is just barely marking the occasion.

shosh hair

Let’s just take a second to highlight the rare absence of a hair accessory–it looks good.

shosh dress 2

Not a fan of this dress–and a little confused as to why Shosh changed–but also, not surprised by it. Its little side peplums are at once true to Shosh, and fit right in with her other off-kilter fashion moments.


MRH is a master of the top-knot and the sweatshirt.


Shosh may have run Ray’s campaign but Marnie (with her nauseating “Happy Birthday Mr. President” song) looks way more ready to be at the side of a politician than an indie rocker who definitely has a penchant for eyeliner.

jessa outfit

Here’s Ace going for literally peak levels of prototypical hipsterdom. Here is the outfit of a man who says things like “It’s my friend’s restaurant; I photographed her breasts for a project on globalization.”

His complete disregard for Jessa’s decision to wear heels (girl didn’t know she was getting dragged to his ex’s) just makes him worse.

jessa shoes

A better look at Jessa’s unwalkable shoes.

jessa leaves

“I’m not going to be a pawn in your game; I fucking run game”

Some people hate Jessa. Alas, I’m not one of those people.

I loved her casual sexy IDGAF of the red slip, her hair, the earrings, the shoes. It’s pretty easy to imagine Jessa tossing this outfit on post-sex, too.

Jessa’s not a pawn and she’s definitely not a pawn to Ms. Basics MRH.

hannah's mom

“Think about anal sex, now that’s uncomfortable.”

Loreen’s outfit–the landline, the wedding ring, the cigarette, the roller curls–add up to a perfect rendition of the scorned wife. It’s Tennessee Williams-esque, really.

hannah face

A moment of praise for LD Hannah’s face. Priceless.

The Second Coming of Domino Kirke + Premiere of Her New Song ‘Ordinary World’

For Domino Kirke, the concept of normalcy has been rather elusive. Her first foray into singer-songwriting as a teenager landed her on renowned producer Mark Ronson’s radar, resulting in a development deal that allowed Kirke to break out of New York’s coffeehouse scene and onto stages with acts such as Gang of Four and Lily Allen. As her band became more heavily engrained in the frenzied world of touring musicians, Kirke found herself on her way to motherhood, a juxtaposing circumstance that resulted in a rather drastic step away from the spotlight.

The daughter of Bad Company’s Simon Kirke, Domino had become familiar with the difficulties of balancing parenting and the equally testing world of Rock and Roll. After years of focusing solely on her son Cassius and working as a doula, Kirke found herself yearning for the creative realm she’d once thrived in. This time approaching project from a different angle than her singer-songwriter days, Kirke teamed up with Here We Go Magic’s Luke Temple to piece together a four-track EP that faultlessly personifies the phrase “short but sweet.” Independent Channel, which will be available on May 19th, boasts a musical advancement for Kirke, who’s begun incorporating electronic percussion and fragile, layered synths for a renewed sound that maintains Kirke’s characteristic singer-songwriter style.


Kirke’s first single of the new work, “Ordinary World,” shifts back and forth between down-tempo beats carried by Kirke’s sturdy melodies and faster, nearly House-like percussion enveloped by layers of angelic vocal harmonies. Whether contemplating her own rock star father, sister Jemima Kirke of Girls, or the family she herself has started, the piece is Kirke’s study on what it means to live an “ordinary” life while balancing successful artistic projects, or other challenging facets of one’s life.

Take a listen to “Ordinary World” below, read our interview with Kirke, and make sure to see her play one of her residency shows at Brooklyn’s Baby’s All Right, this May.

I know you started music at an early age, but when did you decide to pursue it professionally?

Well I went to high school for music and then went to college and was like, I need to do more music. I had left high school as a music major and thought I wanted to get away from it, but then I was upstate and was coming in every weekend to play. So I didn’t really get to experience college, because I was too much of a New Yorker. I started performing as a solo artist when I was nineteen. And that’s what I knew that I wanted to only do that.

One of your first “big breaks” was working with Mark Ronson. Can you tell me about the experience?

Mark and I met in two different chapters. The first chapter, I think I was seventeen, and it was this whole pop outfit that they were presenting to me, and Mark was going to be producing. I think I was still in high school and I couldn’t…I wasn’t ready. I think the whole package was not for me. And I grew up around musicians, so I really understood what they were offering me. So I went away for a few years and then met back up with Mark. I had a band at that point and he saw us perform at Piano’s one night and offered us a development deal. We recorded an EP with him, went on tour with a bunch of great people, and then I got pregnant.

What’s the difference between being in a band and working as a solo artist?

I’ve had a few versions of it all. Since having my son, I’d gone back to the kind of singer-songwriter outfit, and then that didn’t feel like where I am right now. So I met up with a friend of mine, Luke Temple, who’s in a band called Here We Go Magic. I’m a friend and a fan. I just wanted to completely revamp my sound and he wanted to write with a woman. He wanted a female vocalist in his life, or a muse, or whatever you want to call it. So we started writing together and we just thought it would be fun to put out an EP that was a little bit more electro, ethereal, and synth-heavy.
I was so sick of the ego that came with being a singer-songwriter. I was just so bored of myself, and I needed to bring in the band piece again, or at least one other person.


Can you tell me about the venues in New York?

I feel old now. The places I was playing when I was twenty-two, well it’s just not that cool to play there anymore. It’s interesting, I keep saying this but it feels like I’ve had to unlearn everything I knew about and the way I did things ten years ago and kind of relearn the industry. I mean, I’m sure a lot of musicians say that today. Because I’m a mom I can’t really go on tour for three years, so I’m just kind of trying to take a different approach.

There is a different pool now that I’m swimming in. When I first started it was like singer-songwriter’s at Joe’s Pub, Sidewalk Café…you know, pretty girl with a pretty voice, just doing her thing. And then I was lucky enough to get the attention of Mark, who just put it all together. So it feels like I’m kind of starting from scratch, in a way, which is great because it’s not really scratch since I know what I’m doing. Although there is a feeling of being a beginner again.

What was it like working with Here We Go Magic’s Luke Temple?

I know for Luke, he’s not used to writing with other people. He’s been in other people’s bands, but I don’t think he’s sat down for someone, or with someone, and written. He’s always the front man, and I’m always the front woman. So for two front people to come together and create a sound, I think for both people it was a huge learning experience. I didn’t know what to expect, and I didn’t know if he and I would gel because we were friends socially, and I just didn’t know how we would do in the creative space together. He’s a bit of a mad scientist and a genius songwriter.

For me, I didn’t know if I would get in the way of his process. I don’t think he knew what to expect from me, because he met me as a mother. He didn’t know me as a musician. It’s two different brains. So many people met me four years ago; they met me as a doula. I’m a birth doula, or a labor coach, for my day job. People knew me as a mom and a doula. They knew that I used to be a musician but that I don’t do it anymore. So it was like reintroducing myself to my community as a musician.

Did Temple understand how you spent your time outside of creating music?

It’s funny because I was there for the birth of [Luke’s] nephew, so he understood what I did. He finally went, “Oh, you don’t just wake up and write songs every day, or record music. You do other things that don’t involve being creative or yourself. It’s a pretty selfless job. It helped us I think, for when we were writing together, for him to understand that I wear so many hats. I went in as such a fan of his. Here We Go Magic is one of my favorite bands, and Luke’s solo stuff is bananas. So when he wanted to write with me, it took a few times for me to kind of calm down and to feel like his equal, because I was just in awe the whole time. But I think that’s good for the creative process, to be a little bit in awe of the person you’re writing with.


Who came up with the lyrical content and subject matter on the EP?

It was just mixed. He would come up with a lyrical idea really more to show me a melodic concept he was coming up with, and then whatever came of that idea, I would run with it. I tend to go more autobiographical and Luke is very much a storyteller. He’s always like, “Stop talking about yourself!” That’s what I mean when I say I had to relearn. I had to fully take the way I wrote and toss it, and really get into this other uncomfortable space with someone I admired. The whole thing was like shedding the skin as well, because I hadn’t written a record that I was excited about before I had my kid and I have a lot more to say now, as a mother. I’m not the same twenty-two-year-old that does nothing all day but talk about myself.

How did the song “Ordinary World” come about?

“Ordinary World” was the last song we wrote. It was my favorite melody that Luke played for me. It was almost like saving the best for last. He sent me a batch that I thought were great and special, but this one really stuck out…It’s the only song where I did the vocals with Luke in the room, and as one of my favorite singers, I was like, “Oh god. Please don’t judge me.” He had so many genius ideas as we were going along for the layering and the harmonies. I think it was the most collaborative song on the EP. And it’s a bit of a weird song, but it’s kind of beautiful in its weirdness.

What does an ordinary world mean to you?

Luke presented the idea of “Ordinary World” and I was like, this is so interesting because I feel like both Luke and I are in this transitional place, where I’m coming out of the first phase of motherhood, having a six-year-old, and he’s having a little bit of a “what am I doing” phase. We both have kind of come into our own this year, and it’s funny to circle back and have kind of found him again and to be doing this with him now. Because I think we’re both kind of trying to figure out what is normal, as musicians who have both gone through a lot of family stuff. There was a lot of truth that came out this year, and I think we both met when we were trying to figure out how to land from various…everything.

It’s also just talking about not getting caught up in the chaos and letting it spit you out on the other end. It’s more about grounding and finding yourself, and sort of building a wall around you, which is why I wanted it to be thick with layers, and a lot of synth and a lot of whirly, trippy effects. I wanted it to be a strong melody, but I also wanted it to kind of spin you out, because that’s how this year has felt for me. And as a mother, you have to be so firmly planted in the ground while all of this stuff is happening around you.

I’m sure if nothing else, motherhood requires a type of stability that not a lot of musicians have.

You have to be stable, and I didn’t grow up with a lot of that stability with having artist parents and only knowing people in that world. I mean, they’re crazy people. So I tried to figure out what my normal was, and I’m still figuring it out. But the song is really about making your own normal, and what one has to do to achieve that.

What did you learn about parenting as an artist, having had a father in a famous band?

I think musicians back then were very different than today. But I did grow up kind of with the understanding that the lifestyle of a touring musician was really crazy, and very unstable, and that people can have multiple worlds when they’re on tour all the time. There’s the touring world, the band world, and when they’re home, sleeping and eating well. I think what I’m trying to figure out is if you can be in that world without the chaos. Because everyone I know who’s in a band has a hard time coming down from the experience, like finding their day-to-day and not being a total alcoholic and not being a total drug addict. They’re addicted to this adrenalin all the time because that’s what you get when you perform. I think I stopped needing that from people.

When I was younger, I was like, “Like me! Approve of me.” And then I had a kid and I’m like, “I don’t give a shit. I just want to sing.”
And the need to sing changed, and the need to write music changed. I have a lot of friends who don’t have kids who are like, “God, I’m so sick of myself. I have to sit and just write songs, and I get disappointed when people don’t like it, and it sends me into a depression.” And I’m like, “I can’t be depressed if I played a bad show or wrote a song that people thought was cheesy. I don’t care anymore the way I used to care. Somehow music is more of a pleasure, now. It’s just something for me to…it’s just therapy.

GIRLS Fashion Recap: An Exploration of Professional Attire

We’re down to the wire here. There are only two episodes left and a major new story arc with Hannah’s dad’s revelation (or rather, admission) that he’s gay.

Let’s begin with an examination of Hannah’s continually ill-advised substitute teaching attire.

hannah teach

My brain knows this is inappropriate for a classroom of 15-year-olds. Anything with a full-body zip is not teacher attire…can we get this girl some trousers? A trip to J.Crew needs to happen…like now.

Still, we’ve seen Hannah in so much worse. And she’s clearly experiencing some weird desire to relive high school so perhaps this outfit is a manifestation of that.


This week, Fran’s literary tee-shirt (from his mom) is the piece of attire that makes it into the script. It is both cute and dorky and only makes Jake Lacy’s character more endearing.


Marnie continues to wear clothes that are simple, but weirdly embellished. Since this week, I’m taking the makeover look, I think Marnie would do really well with a trip to Everlane. Trade in the weird embellishments for equally “artsy” pocket tees and a pair of loafers. Done and done.


Jessa looks like Jessa, but more normal and with a bit of lovable trashiness, something that perhaps only Jemima Kirke can pull off. This is spot-on though for a stroll around Brooklyn getup. And with the weather warming up, at long last, we’ll soon all be wearing ripped up jeans.

shosh robe

Oh Shosh! You would have a blue silk robe and (duh!) a matching turband for bodily tweezing pre-date. Honestly, 100 points for making getting ready for a date seem like an affair out of a 1950s movie.


An appropriately conservative, buttoned-up look, with a much more acceptable skirt length than we’ve seen so far, for Shosh’s work helping Ray canvass. Keep this look for some of your job interviews, Shosh!

shosh date 2

Finally, let’s talk about Shoshanna’s date, which is promising (even in spite of her very weird porny advances at Jason Ritter). Here’s what’s not surprising: her decision to wear pink, her dedication to barrettes (hair accessories in general, for all occasions), and her employment of a statement necklace.

See you next week!

GIRLS Fashion Recap: Hannah’s Best Look Ever?

hannah teaching

Bold statement or, question: is this Hannah’s best look ever? She is finally in her element, for like, the first seven minutes of this episode, and she looks good! It’s not like we’re seeing clothes tailored to her body, but it’s summer in New York City, it’s hot, and this is exactly the kind of throw-on dress we all want to wear on days like this one probably is. Sure, she’s not as chic as her students (see Maude Apatow’s cameo) but she looks put together, mostly professional, and well-accessorized. If only it would have lasted.

date outfits

Welcome to GIRLS, a land in which dates are made so easily you’d think the need for dating apps was a construct of our millennial imaginations.

Here we find Hannah revisiting an old fave, her Toy Syndrome lizard tee, which, as date attire, gets a HARD NO from Elijah (who kills it in this scene).

hannah and fran

She winds up (post masturbation-sesh) in this strapless dress–a far cry from the casual attire she’d set out to wear. Oh Hannah, there is really never a medium with you, is there!? But her lapis spike necklace is pretty cool and Pamela Love-esque, n’est-ce pas!?

jessa necklace

This episode made a strong case for necklaces/jewelry in general. Even if, unlike me, you don’t watch GIRLS three times each week to observe the details of each and every sartorial decision made, you might have noticed Jessa’s very cool, attention-grabbing necklace.

marnie bumpit

The conclusion it seems we must draw here, as viewers, is that between takes of listening to her own songs on Youtube or Soundcloud or wherever, Marnie managed to order a Bumpit and that is what we see going on here.

Screen Shot 2015-03-02 at 9.29.29 PM


One takeaway from this episode: we might want to borrow from Mimi-Rose Howard and start referring to anyone with whom we’ve formerly been entangled as “ex-partners,” but I digress…


The ex-partners have chosen to keep their “ASK ME MY NAME” aprons on, the backs of which read “THAT’S A BEAUTIFUL NAME.”

“I don’t even like what I chose to wear tonight so this is actually a great solution for me,” Hannah says.

ALSO: was anyone else getting Jack Antonoff (i.e. LD’s real-life beau) vibes from Ace’s cuffed shorts look?

moments from fucking hawaii

A photo posted by jack antonoff (@jackantonoff) on

Not saying it means anything–just pointing it out.



MRH’s getups remain aggressively neutral. They are neither chic or fashion-forward nor oblivious or absolutely uncool. Sure, they’re a little tomboyish, but really no more so than any J.Crew catalog (sans a sparkly necklace but with a kinda cool silver one). I don’t want to dig too deep here but when the clothes are this quiet, we can’t rely on them much to draw conclusions about character so we are forced to kiss our “I hate her bc she wore a bodycon dress” excuses goodbye.