After 13 excruciating episodes of Girlboss the general consensus was: meh.
Girlboss is loosely based on Sophia Amoruso’s book of the same name, which tells her rags-to-riches story as she goes from freegan dumpster-diver to one of America’s most successful female entrepreneurs with her online store Nasty Gal. Girlboss focuses on the idea that if young (white and privileged) women pursue their dreams and overcome the odds they will succeed in their ultimate goal of becoming rich. Don’t count on finding inspiring messages of female solidarity, this is an upfront ode to capitalism and how Millennials have bought into it at 200%.
The show reflects the rise to entrepreneur stardom of a narcissistic, unreliable and pretty shallow white woman thanks to her “fu*k everyone else” attitude. Sophia’s character is an asshole, not the lovable kind of asshole, or an asshole that is one because of a misogynist environment, just a plain ol’ asshole. Girlboss celebrates everything that is wrong with the Kardashian world we now live in.
BUT. Shows are subjective and there were a few great highlights in some of the episodes, including performances by the likes of RuPaul. What mainly makes Girlboss worth watching is attention to detail and music. Despite its flaws, the show is occasionally a sweet reminder of how social media was a new frontier before it fell into a narcissistic abyss. The show is also saved by the flawless soundtrack, containing some of the best indie tracks to have been released between 2004 and 2008. From Modest Mouse to The Polyphonic Spree, Girlboss is an ode to the rise of the indie bands that were championed by then-budding music websites like Pitchfork and Gorilla Vs Bear.