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(1) The protagonist is a striking, fit 20-something woman who has a lot of sex for money, and (2) sometimes gets off on the sex, and (3) makes no apology for either of those things, and (4) is surrounded by hotel and restaurant and office interiors and external architectural facades that are all as immaculately lit and composed and unabashedly obsessed with surfaces as a Robert Mapplethorpe photo of body parts - these factors all contribute to the sense that The Girlfriend Experience is consciously blurring lines, indeed generally messing with us, by design. To truly engage with it means deciding to ignore complaints that it’s “merely” pornography, or “just” erotica, or “mainly” prurient, no matter what pretensions it might have toward being taken seriously as television or cinema or whatever else it aspires to be, and that of course it’s “not sexy” - these are all variants of the standard fallback position that American critics adopt when dealing with this sort of material. The Girlfriend Experience is also the kind of show you can’t write about in detail in advance for a second, somewhat related reason: It’s partly, though not entirely, about sex, and what it means to be a sexual being. Be warned that the first episode, maybe two, might inspire a “meh” reaction, but if you stick with it through the end of episode four, you’ll want to revisit those first two and pick out obvious bits of foreshadowing that you missed because you just assumed you knew what you were looking at. I think it’s easily one of the best shows of the year, and a major work by everyone involved, for reasons that I’ll allude to momentarily - though not in detail, because The Girlfriend Experience is actually four or five shows rolled into one, and a big part of its specialness resides in those moments where it morphs from one thing into another. I love and respect it, I’ve already watched the whole first season and revisited individual episodes a second time, and the season finale three times. It’s overseen by two ferociously intelligent and uncompromising independent filmmakers, Amy Seimetz and Lodge Kerrigan, and its ominous electronic score is by Shane Carruth ( Upstream Color).
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It’s developed for TV by executive producer Steven Soderbergh, who directed a same-named film in 2009 that has almost nothing to do with this series. I don’t even know where to begin with The Girlfriend Experience, a Starz drama about a law student who has a secret life as a high-end call girl.