Anna-Marie Fitzgerald, senior publicity manager, gives four reasons why you should be watching Jill Soloway's TV adaptation of I Love Dick (if you're not already).

We were intrigued when we heard that Transparent creator Jill Soloway was turning Chris Kraus’s I Love Dick - a masterpiece of autofiction first published in 1997 - into an Amazon Prime series. While there is usually an inevitability to a popular book being snapped up in a TV deal, anyone who’s read I Love Dick will understand why this has been called ‘the most unlikely TV adaptation of all time’. It is a sacred text to the many readers around the world who revere its outrageously original premise and fearless mangling of the male gaze, but how exactly would this feminist-art-world-critique-slash-bizarre-love-triangle translate onto the small screen?

Soloway’s interpretation picks up the key themes of book, raising questions around the role of and space for women in the artistic and academic worlds and examining the nature of desire. The result is a mix of twisted will-they-won’t-they romcom and outraged art piece which manages to mix up formats and storytelling in the same way the book did, all those years ago.

Here are four reasons why you should watch it.

Chris I Love Dick1. I Love Chris.

Rabbi Raquel (shoutout to Transparent fans) aka Kathryn Hahn’s failing filmmaker Chris is a shaggy-fringed klutz and her messy hairdo just one of the many ways in which she subverts leading-lady conventions. She’s also surly, side-lined and misunderstood. The simmering rage and unrequited lust that bubbles through the series’ eight episodes underpin her exploration of the problems with monogamy – and the agony of rejection. Her 2010s midlife-malaise feels very now, even though some of her dialogue and voiceovers come straight from the pages of the book.

2. How Marfa-llous  

For the TV series, the action has been transported from New York andMarfa California to Marfa, Texas. This southern art-college town is famous on Instagram, has a hip glossy journal named after it and was the set for the XX’s ‘On Hold’ video. Andrea Arnold directed four episodes, and her American Honey-honed eye for the great American vista takes the cinematography to sublime levels. It looks utterly gorgeous and everyone who watches ILD will be making Marfa their first stop on the American road-trip of their dreams.

3. Not that Devon

Devon, played by Roberta Colindrez (pictured below; who also starred in a stage version of the brilliant graphic-memoir Fun Home) is a revelation. She’s not based on a character from the book, but that doesn’t matter, because she’s still extremely cool. This trailer-residing college dropout is a wannabe playwright and local Marfan. She somehow grounds the transient characters around her, reminding them that the town is someone’s home, not just an incredibly photogenic backdrop for an art installation. A magnetic presence on screen, she’s a romantic young cowgirl with ambitions far beyond her trailer park and who (we discover) has a bit of a Dick-crush of her own…

Devon I Love Dick

4. Girls to the Front

Regardless of how many ‘feminist’ characters and shows there might supposedly be on mainstream TV and on-demand these days, the fact is that there are still simply not enough women-made stories to choose from and the grrrl-TV-film revolution has barely begun. However, Jill Soloway has form with consciousness-raising drama and exploring marginalised narratives, so ILD’s gender-sensitive material is in safe hands here. Soloway has made an effort to employ diverse talent behind the camera and in terms of how ILD portrays grown-up women, it takes its characters and their art careers seriously. They communicate their interests and projects through set pieces and voiceovers within the show and are by turns muse and practitioner. Episode five, ‘A Short History of Weird Girls’, is a standalone and is the finest and most experimental of the series in which each of the titular ‘weird girls’ shares her intimate history in her own words to-camera. These confessions are interspersed with flashbacks and clips from real life feminist art films which are helpfully credited in the Amazon Prime commentary that runs alongside each episode. Let’s hope there’ll be lots more like this in series two. Fingers crossed.

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