Currently out of free articles at The New Yorker (lapsed subscriber), so I can’t access the mentioned profile but do get the weekly newsletter. The blurb for the “Barbie and the Bomb” article conveys a lot:
“Christopher Nolan sets the physicist in a swirl of Cold War conspiracy, and Greta Gerwig tries to imbue a story about the doll with …
Currently out of free articles at The New Yorker (lapsed subscriber), so I can’t access the mentioned profile but do get the weekly newsletter. The blurb for the “Barbie and the Bomb” article conveys a lot:
“Christopher Nolan sets the physicist in a swirl of Cold War conspiracy, and Greta Gerwig tries to imbue a story about the doll with a feminist critique of capitalism.”
Nolan “sets” his film, implying achievement already, while Gerwig “tries” with hers. Not that Gerwig didn’t take on a serious and meaningful challenge with Barbie, but the reviewer’s wording automatically and frustratingly implies that she might not succeed.
Currently out of free articles at The New Yorker (lapsed subscriber), so I can’t access the mentioned profile but do get the weekly newsletter. The blurb for the “Barbie and the Bomb” article conveys a lot:
“Christopher Nolan sets the physicist in a swirl of Cold War conspiracy, and Greta Gerwig tries to imbue a story about the doll with a feminist critique of capitalism.”
Nolan “sets” his film, implying achievement already, while Gerwig “tries” with hers. Not that Gerwig didn’t take on a serious and meaningful challenge with Barbie, but the reviewer’s wording automatically and frustratingly implies that she might not succeed.