![]() Sometimes wildly arty (remember some of those opening sequences?), sometimes delightfully campy (the Dinah Shore roadtrip still makes me smile), sometimes flat-out incoherent (hello, circus trauma) and - on those rarest of occasions - just perfect.īut the steady, skillful competence of the new show has won me over. The tonal inconsistencies of the original could give you whiplash. And, of course, killing off Dana Fairbanks. But with those higher highs came so (so, so, so) many lower lows. What made us fall in love with TLW back in the day, despite our better judgment, was how goofy and relatable and aspirational it could be at times. But, it is also less fun in some ways than the OG series. It’s competent in many ways the original “The L Word” could only dream of being. ![]() The revival is unquestionably a more solid and stable show. The shows are different in many ways, primarily in tone and consistency. ![]() Speaking of the past, there will obviously be comparisons drawn to the original. But it felt real, and it felt earned and it was a lovely recall to the past. They’re either all adversarial or all transactional or all jokey. ![]() I especially liked Bette and Angie’s relationship, and to be honest I often dislike depictions of parent-child relationships on TV. But in the second half it gave us some of the loveliest moments of the whole damn season. The clunky, “Everybody Hurts” first half of the finale is a prime example of the show pushing too hard. I’ve already gone on and on about how much I unexpectedly fell in love with “The L Word: Generation Q.” No, obviously, it wasn’t perfect. ![]()
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