You know how in Gattaca doctors used hormones to control the personalities of fetuses, ensuring a creepily uniform generation of "perfect" people, like the guy who plays Ethan Hawke's brother in the movie? Well, now there is a doctor who is attempting to do something similar by eradicating non-"feminine" traits in female fetuses—an "abnormal" disinterest in babies, not wanting to play with girls' toys or become mothers, "career preferences" that are deemed too "masculine"—and she's this week's Douchebag Decree recipient. Dr. Maria New, come on down!
Today, I thought I'd turn our attention to Showtime's The L Word. I'll admit that the Los Angeles-based ensemble dramedy created by Ilene Chaiken was marred by over-the-top situations, uneven character development, hackneyed writing, a bevy of skinny femmes, and racially problematic casting decisions. It also featured one of the worst theme songs ever, which was written and performed by BETTY.
However, until the final season I was hooked. I started watching with my girlfriends in college toward the end of Sex and the City's run on HBO (L Word fans may recall that the show's original tag line was "Same Sex, Different City"). I was invested in many of the L Word's characters and their long, interconnected histories with one another. I appreciated the incorporation of lesbian icons through dialogue or cameos, and the attention drawn to lesser-known cultural practices like Dinah Shore Weekend or the prevalence of lesbian nuns. I liked the sex, even though it was often of the lipstick variety. Most of all, I enjoyed the role music played in the women's lives.