The heroes of Judd Apatow’s movies always have some growing up to do. The director’s early television work on comedies such as Freaks and Geeks and Undeclared dealt with the growing pains of adolescence. His filmmaking debut, 2005’s The 40-Year-Old Virgin, focused on a grown man (played by Steve Carell) whose life was frozen in place because of his sexual inexperience.
“A clean house is evidence of mental inferiority,” Shirley Jackson (played by Elisabeth Moss) grumbles at her husband as he stumbles around her messy bedroom. By that yardstick, Shirley might be the smartest person alive; her North Bennington abode is so full of dirty dishes and random junk that it feels almost haunted. But that’s the mood the director Josephine Decker wants to conjure in Shirley—one where even a mundane home has a distinct air of spookiness.
America continues to battle the coronavirus, demonstrators fill the streets to decry police brutality and racism, and former members of President Donald Trump’s own Cabinet are denouncing his leadership. There’s undeniable surrealism to the moment at hand, with police killings captured on camera running parallel to the bizarre image of the president strolling to a church to hold up a Bible, after the police used violent force to clear his path of peaceful protesters.
America continues to battle the coronavirus, demonstrators fill the streets to decry police brutality and racism, and former members of President Donald Trump’s own Cabinet are denouncing his leadership. There’s undeniable surrealism to the moment at hand, with police killings captured on camera running parallel to the bizarre image of the president strolling to a church to hold up a Bible, after the police used violent force to clear his path of peaceful protesters.