Critical Condition: The Bisexual
The Bisexual | SoHo2, 9.00 Thursday
☆☆☆☆ “The equal-opportunity script is not afraid to call out the idiocies of other groupings: straight women who go in for lesbian tourism, straight men whose lesbian fantasies crumple on impact with a living breathing representative. It’s witty and pleasingly literate, with savvy jokes about Zadie Smith, Alain de Botton and, crushingly, Salman Rushdie … But The Bisexual’s secret weapon is its willingness to be moving. You laugh like a drain, but you care.” — The Telegraph.
☆☆☆☆ “Like with Transparent or Fleabag, the producers think their hyperverbal and neurotically self-cognisant culture of artists, academics and hedonists is far more intriguing than it really is … Inconsistently amusing, The Bisexual might have been a tight feature-length film, but the story here does not justify six 30-minute segments.” — The Hollywood Reporter.
☆☆☆☆ “Because the characters and the milieu are well observed — The Bisexual does for London what Girls did for New York — and naturalistically rendered, the show is moving, at unexpected times, if you have lived much life at all, or even thought about it a little.” — Los Angeles Times.
☆☆☆☆ “With its themes of rejection, betrayal and self-discovery, and a steady, hard stare at modern sexual mores, this was A Different Kind of Sex in Another City, or a reoriented Girls. Yet there was a telling scene where Leila’s friends used the TV show The L Word as a reference, then berated themselves for being stereotypes. Here was a widening of the conversation. And it was sweet, funny and blessed with a complex star.” — Sunday Times.
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