The BBC series What It Feels Like for a Girl, adapted from Paris Lees' memoir, has drawn significant criticism for its handling of sensitive themes and its narrative choices. While aiming to portray a trans coming-of-age story set in early 2000s Nottinghamshire, the series stumbles in ways that undermine its intent and alienate viewers.
One major critique is the show's misleading title, which suggests an exploration of girlhood but instead centers on the experiences of Byron, a character who is not a girl. This has sparked accusations of misrepresentation, with critics arguing it co-opts female experiences without authentically engaging with them. The narrative's focus on Byron's life as a teen sex worker and their immersion in a chaotic, hedonistic subculture is depicted with a gritty bravado that feels more sensational than insightful. Rather than offering a nuanced look at gender identity or self-discovery, the series leans heavily on shock value-graphic depictions of risky encounters and drug-fueled anarchy-which risks glamorizing or trivializing serious issues like abuse and vulnerability.
The characterization is another weak point. Byron, played by Ellis Howard, is portrayed as charismatic but often unlikeable-arrogant, vicious, and prone to cruel behavior, such as mocking a trans friend's physical features. While complex protagonists can be compelling, Byron's lack of consistent redeeming qualities makes it difficult for audiences to empathize, especially when the show frames their actions as self-affirmative rather than self-destructive. Supporting characters, particularly the women, are thinly drawn, often reduced to stereotypes like the neglectful mother or one-dimensional bigots, which flattens the story's emotional depth.
The series also faces backlash for its handling of social issues. Critics have pointed to its depiction of homophobia and transphobia as cartoonish, with antagonists portrayed as exaggerated caricatures rather than complex figures. This approach undermines the show's ability to meaningfully address prejudice. Additionally, some have criticized its casting choices, particularly the decision to cast a male actor as Byron, which has fueled debates about authenticity and representation among both feminist and gender identity activist circles.
Finally, the show's attempt to blend raw social commentary with nostalgic Y2K aesthetics feels disjointed. The club scene and cultural references are vivid but often overshadow the story's substance, leaving it feeling like a stylistic exercise rather than a coherent drama. The conventional resolution-a redemptive arc involving incarceration and loss-feels tacked on, failing to reconcile the earlier chaos with meaningful growth.
In short, What It Feels Like for a Girl aims for bold storytelling but falters with its provocative tone, shallow characterizations, and questionable framing of complex issues. It's a series that tries to provoke but ends up alienating more than it enlightens.
