At the heart of the Farrow hiring was and is the biggest lie both media and consumers like to hold up: that what matters most is not substance or talent, but the ability to attract attention.
Watts’ insistence on simply having experienced pleasure while fully clothed does nothing really to advance a more complicated idea of what counts as pleasure in public.
If Season 1 made prison seem like Camp PrisonCanBeFun for girls, Season 2 is bleaker and filled with reminders that the only certainty about prison life, besides the roaches and the shit bubbling up through bad plumbing, is the absolute uncertainty.
Excerpt: Nicholas Kristof’s collected work on sex trafficking constitutes a masturbatory text, allowing do-gooders everywhere to stroke and erect their unspoken desires about rescuing sad, tormented women.
