XIXAX Film Forum

Film Discussion => The Small Screen => Topic started by: wilder on November 04, 2015, 04:02:37 PM

Title: The Girlfriend Experience
Post by: wilder on November 04, 2015, 04:02:37 PM

Follows a young law student who is introduced into the world of high end sex work

Executive Produced Steven Soderbergh and Lodge Kerrigan
Directed by Lodge Kerrigan and Amy Seimetz
Starring Riley Keough, Mary Lynn Rajskub, Paul Sparks and Kate Lyn Sheil
Debuts on Starz next year

Quote from: Steven Soderbergh
"The series is tightly scripted. It's very different than what I did on the movie, but the approach is very much an auteur approach," he told THR last month. "We're used to the writer-producer being the ultimate Oz figure on a show, but not here. Here it's the directors' vision. You feel it right away, in the choices with the writing and directing, the difference between this and regular television. No fucking executive would [normally] ever let this pass. I am as proud of having my name on this as of anything I've done."
Title: Re: The Girlfriend Experience
Post by: jenkins on November 04, 2015, 04:42:13 PM
respect to Soderbergh for tending to be the thing he says he is.
Title: Re: The Girlfriend Experience
Post by: Sleepless on November 05, 2015, 11:05:26 AM
Title: Re: The Girlfriend Experience
Post by: jenkins on November 05, 2015, 11:09:31 AM
"Just to be clear,” he said. “I won’t be directing ‘cinema,’ for lack of a better word.

he quit directing movies and transformed the tv landscape in like a day and a half. god bless.
Title: Re: The Girlfriend Experience
Post by: wilder on January 21, 2016, 04:45:28 PM

Debuts on Starz April 10, 2016
Title: Re: The Girlfriend Experience
Post by: wilder on April 09, 2016, 11:42:28 PM
If you want to watch this and have Amazon Prime, you can add Starz to your membership for $8.99/mo, or start with a 7-day free trial at amazon.com/starz (http://www.amazon.com/starz)

Edit - I love people standing in offices by themselves yelling “FUCK!” (E03)
Title: Re: The Girlfriend Experience
Post by: wilder on April 12, 2016, 03:31:34 AM
Not enough people are watching this show.
Title: Re: The Girlfriend Experience
Post by: wilder on April 15, 2016, 05:25:20 PM
Lodge Kerrigan thinks television should be run by directors
via metro.us

The filmmaker Lodge Kerrigan started around the same time as Steven Soderbergh. His first feature, the intense indie “Clean, Shaven,” came out in 1994, only a few years after Soderbergh’s groundbreaking “Sex, Lies, and Videotape.” At this point both have moved into TV, and at a time when film directors are starting to take over a medium that has, until now, been largely been driven by writers. Soderbergh tasked Kerrigan, along with Amy Seimetz, with writing and directing “The Girlfriend Experience,” a loose spin-off (of sorts) of his 2009 film of the same name, concerning a high-end escort (here played by Riley Keough).

Kerrigan — whose films include “Claire Dolan” and “Keane” — has done his share of director-for-hire TV, helming episodes of “Homeland,” “The Killing” and “Bates Motel.” But he believes, for many reasons, the model of having directors handle entire seasons and shows is the ideal way to go.

Having directors loom large over TV shows, as Soderbergh did with “The Knick,” is a relatively new idea.

It’s a really interesting time. What Steven calls “auteur TV” is really fascinating. The idea that it’s director-driven as opposed to writer-driven is a much better model. Directors should be running television, not necessarily writers. If you move away from the standard pilot model, if you can get all the scripts up front and then have — as in the case of “GFE” — two directors do the whole show, you get this unity of vision you usually don’t get.

And you can work more efficiently. You can direct the actors much better because you understand the whole arc of the characters, because you’ve written it. You can block scenes, you can shoot out locations; you’re not forced to keep going back to them because you got a new script and they say, “Oh, we’re back in this location.” You’re not forced to over-cover. All the shots that I do make it. You’re not shooting something because maybe a showrunner in another city may go, “It would have been nice to have a two-shot here.” You may not get re-hired if you don’t have those two-shots. You’re forced to over-cover and then work longer hours. The actors get tired. The director-driven model is much more efficient.

Reading about how Soderbergh constructed “The Knick,” working on set for months straight and shooting even more quickly than TV directors usually do, sounds like it could be exhausting.

I work really fast anyway. If you’re shooting for six months, that’s fantastic. It’s what we do. Why wouldn’t you want to continue doing it? I enjoy directing, I enjoy being on set. If I had to direct 180 days or even 300 days [a year], that would be fine with me. I only need a month off a year, and probably not even that.

How much are you planning out your shots beforehand as opposed to finding shots on the fly?

It’s all pretty mapped out. We mostly use natural light — not only, but mostly. We built a lot of the lighting into the production design. But what we’re doing is very unorthodox, because we have to follow the sun. The windows are our main source of light. It’s still all backlit. But you have to track where the sun is going to be at what time of day. You have to plan your whole shoot according to that. You have to get at a location at a very specific time and wrap at a certain time. I just prepare heavily before I arrive on set. I have a clear sense of what the blocking’s going to be, where the camera’s going to be, what lenses to use.

I know Amy is different and Steven is different. For me, when I came on set it’s a period of execution. It’s not a period of discussion. Obviously if the actors have questions we discuss them. But it really is a time to execute. On average we were working nine, ten hour days, as opposed to most shows, which are 12 hours. Those two or three hours make a huge difference, cumulatively, for the crew. If you wrap after 12 hours, some of the crew might extend to 13, 14 hours. And they have to go home. Those days become unsafe, really, to a crew, to consistently work those kinds of hours. I think it’s wrong.

Digital cameras now work really well with minimal lighting. That must speed things up and make it easier to be more creative.

The way traditional lighting is, it takes a tremendous amount of time. And it’s unnecessary, because cameras with their new sensors, you don’t need to do that. You can now capture contrast and you can capture detail. I’ve been on some TV shows where you spend 80 percent of your time on set lighting, waiting for lighting. That has to change. There’s not one shadow or one light effect that is cumulatively worth that. I don’t want to spend my life waiting around on a set. I don’t understand the mindset of why people still do it the old way.

Do you think this approach could work for shooting on film?

You could use this approach for lighting film. If you have a reasonable speed on the film stock — if you get 200 to 400 ASA you could easily use this method. You have to use a tiny bit more fill and a stronger key light here and there. You’d have to augment it somewhat, but not to an extreme degree. It’s more of a mindset: that lighting has to be complicated, it has to take this amount of time. But what are you sacrificing in terms of performance? Every actor I’ve worked with likes to work quickly. I’ve never seen an actor who enjoys doing a scene and then sitting and waiting for the room to be turned around.

When you shot “Keane” in 2005, you were shooting quickly and on film.

It was on film, and it was a lot of live environments. The coverage was one shot per scene. Every scene is one shot, and the only edits are jump cuts. What it afforded us was [actors] Damian [Lewis] and Abigail [Breslin] and Amy Ryan, they could all perform an entire scene. They’re not just performing one line, two lines, cut, then do another setup. Because Damian came from a theater background that really appealed to him. It was a very high-risk way of shooting, because you could be three minutes into a four-minute take. We’d be shooting Port Authority and people would come out of a bus and say, “Hey, guys, are you making a movie?” You could be on take 12 or take seven or take two, and you’ve lost it. You have to start all over again. But it was really energizing. It felt really alive and I felt it gave the right energy to the film.
Title: Re: The Girlfriend Experience
Post by: Fernando on June 20, 2016, 11:12:22 PM
I'm finally watching this and having seen five episodes it's really great, you guys need to check this out, it surprised me that it's a half hour drama, and it goes by fast.

edit. ok, shit just got real by episode 7.
Title: Re: The Girlfriend Experience
Post by: wilder on June 22, 2016, 07:04:24 PM
Season 1 blu-ray (https://www.amazon.com/Girlfriend-Experience-Blu-ray-Riley-Keough/dp/B01G6AS3EW/175-9513561-8308837?ie=UTF8&SubscriptionId=AKIAIY4YSQJMFDJATNBA&camp=2025&creative=165953&creativeASIN=B01G6AS3EW&linkCode=xm2&m=ATVPDKIKX0DER&tag=bluray-011-20) on August 2nd
Title: Re: The Girlfriend Experience
Post by: ©brad on June 22, 2016, 08:11:21 PM
This is my favorite show right now. It's so well done and feels like nothing else on TV. Watch it people.
Title: Re: The Girlfriend Experience
Post by: Kal on June 22, 2016, 11:49:05 PM
Was hoping it would get renewed for a second season already but nothing yet.
Title: Re: The Girlfriend Experience
Post by: Fernando on August 01, 2016, 12:17:55 PM
‘The Girlfriend Experience’ Renewed For Second Season, Lodge Kerrigan & Amy Seimetz Will Return

Starz has renewed the Soderbergh produced series adaptation of “The Girlfriend Experience” for a second season, but with a bit of a twist. Filmmakers Amy Seimetz and Lodge Kerrigan will return to write and direct all 14 new episodes — one more than the 13-episode first season — however, Riley Keough and the rest of the cast wont’ be back. Instead, there will be an all new ensemble telling an all new story.

Title: Re: The Girlfriend Experience
Post by: Kal on August 02, 2016, 04:24:37 AM
I think it's stupid to restart the story with new characters once again. They already did it in the movie and now the TV show. How many of these do you need? Keep going deeper into a character and the world surrounding her.
Title: Re: The Girlfriend Experience
Post by: wilder on September 16, 2016, 05:13:08 AM
Title: Re: The Girlfriend Experience
Post by: wilder on January 26, 2017, 05:53:24 PM
Steven Soderbergh’s ‘The Girlfriend Experience’ To Feature Parallel Storylines In Season 2
via Deadline

Starz’s limited series The Girlfriend Experience, executive produced by Steven Soderbergh and Philip Fleishman, is breaking with last season’s format and will feature two parallel storylines in the upcoming second season, one particularly timely given the current political situation.

Each will be written, directed and executive produced by Lodge Kerrigan and Amy Seimetz, who served as writers, directors and executive producers on season one. Jeff Cuban, Andrew Fierberg (Secretary, My Art) and Adele Romanski (Moonlight) will also executive produce. The new season will focus entirely new characters, relationships, plotlines and locations while exploring the price of intimacy and its emotional consequences. One storyline for the 14-episode scripted anthology series will be set in Washington, D.C. and the other, in New Mexico.

Kerrigan’s storyline is set against the backdrop of the corrupting influence of dark money in the upcoming 2018 U.S. mid-term elections, where everything and everyone has a price. This section tracks an unexpected and complex relationship between Erica Myles, a commanding and strong-willed finance director of a Republican super PAC, and Anna Greenwald, a confident and intelligent GFE provider at the top of her game. Anna Friel (“Broken,” “Marcella,” “Pushing Daisies”) will portray Erica Myles and Louisa Krause (“Billions,” “Blue Bloods,” “The Flick”) will play Anna Greenwald.

Seimetz‘ storyline follows Bria Jones, played by Carmen Ejogo (Fantastic Beasts and Where to Find Them, Selma, “Zero Hours) . After discovering disturbing information about a regular client, Jones is forced to relocate to a remote location in New Mexico. Unable to shake her desire for risky relationships and the finer things in life, Bria navigates her new penniless and surreal existence by forming eerily intimate transactional relationships. While Bria’s ghosts from the past continue to haunt, her new connections with men redefine the meaning of the Girlfriend Experience.

It was always our intention to change the universe every season, but Amy and Lodge have cranked up the ambition, scope, and complexity of the show by creating two storylines even more provocative and confrontational than last year’s. I’m as excited as a Swedish person is allowed to get,” Soderbergh said.
Title: Re: The Girlfriend Experience
Post by: wilder on July 28, 2017, 06:44:53 PM
Season 2 premieres November 5, 2017 on Starz

Quote from: Deadline
As previously announced, Season 2 breaks with last season’s format and follow two parallel stories each focusing on entirely new characters, relationships, plotlines and locations. Anna Friel and Louisa Krause star in the storyline set in Washington, DC, and Carmen Ejogo is at the center of the second storyline set in New Mexico.

Philip Fleishman also executive produces with Lodge Kerrigan and Amy Seimetz, who are the co-creators, writers and directors on the series.

Title: Re: The Girlfriend Experience
Post by: ©brad on July 28, 2017, 06:58:10 PM
Into it. Season 1 was so awesome. I highly recommend giving it a go if you haven't already.
Title: Re: The Girlfriend Experience
Post by: WorldForgot on July 30, 2017, 02:25:28 AM
Beyond excited to watch Anna Friel directed by Amy

Edit 9/10: Now that I know it aint her story, I gotta put my foot in my mouth. Still excited for her to direct Carmen Ejogo.
Title: Re: The Girlfriend Experience
Post by: wilder on August 15, 2017, 01:52:14 PM
Title: Re: The Girlfriend Experience
Post by: WorldForgot on August 15, 2017, 01:58:20 PM

FUCK YESSSSSS~ Favorite drama on TV

Edit: This trailer creates so much tension, and it seems Carmen Ejogo is in hiding per this knew logline in the description. So an asset to Washington DC players? #down
Title: Re: The Girlfriend Experience
Post by: wilder on September 09, 2017, 05:56:21 PM
Steven Soderbergh On ‘The Girlfriend Experience’ Season 2, ‘Logan Lucky’ Lessons + Next Steps – Toronto
via Deadline

EXCLUSIVE: “Look, the shows are designed to be confrontational,” says Steven Soderbergh of the second installment of The Girlfriend Experience, just before the Starz drama’s debut at the Toronto Film Festival today. “The great thing about what’s going on in television right now is that if you make something that’s polarizing, that’s a good thing because people talk about it,” the Oscar and Emmy winner adds of the sexualized limited series from Lodge Kerrigan and Amy Seimetz, based on his 2009 movie.

With the first Riley Keough-led installment of TGE having premiered at Sundance in 2016, today’s afternoon screening at TIFF Bell Lightbox will feature four episodes of the new Carmen Ejogo, Anna Friel and Louisa Krause starring show. Set to debut on Starz on November 5, this latest 14-episode installment of TGE features not just new actors, but a new format, with Seimetz and Kerrigan writing and directing separate stories that the premium cabler will air back-to-back week-to-week.

Having cast the Billions and Plucking Daises alums, Kerrigan’s storyline uses the 2018-midterm elections to tell a tale of blackmail, dominance and cross lines. Selma vet Ejogo fronts Seimetz’s episodes of an upmarket escort now trying to construct a new life in the Witness Protection program, with frayed results.

Serving as executive producer again on TGE, Soderbergh chatted with me recently about how this very different season came together, a potential backlash, and what he and Starz have planned for more seasons. He also discussed with me the release of Logan Lucky last month and what he learned from the less-than-stellar $23 million box office of the unconventionally distributed and marketed Keough, Channing Tatum, Daniel Craig, Adam Driver and Katie Holmes-starring heist pic. Oh, and Soderbergh hinted at another collaboration with Clive Owen after the duo’s work on The Knick.

DEADLINE: You are previewing the new installment of Girlfriend Experience on the opening weekend of Toronto, a festival that is quickly growing in the amount of television it screens. What does that blending of the big and the small screen say to you?

SODERBERGH: You know, the landscape’s shifting so quickly, and in this case, I don’t know that I ascribe what we’re doing to any sort of larger movement or larger issue that the film business or the television industry are confronting. I mean, this project evolved in a very serendipitous way.

I don’t think any of us were thinking about anything other than trying to generate some interesting content. It’s great that the TV business has changed to an extent, that this kind of approach (works) and that there are no rules anymore. You know what I mean? Fifteen years ago, this doesn’t happen. Maybe even 10 years ago, it doesn’t happen.

DEADLINE: What also rarely happens is the sort of show the new season of Girlfriend Experience is, two separate stories told by two different filmmakers back-to-back. There is also a lot of sex. Are you worried about a backlash?

SODERBERGH: Look, the shows are designed to be confrontational. The great thing about what’s going on in television right now is that if you make something that’s polarizing, that’s a good thing, because people talk about it. They go check it out, which is unlike the movie space right now, I think. If you make a movie that’s polarizing, it gets a terrible Rotten Tomatoes score, and then people go, ‘Oh, there must be something wrong with it.’ You know?

The idea that people would argue about a movie and somebody would say, ‘I think it’s great,’ and somebody would say, ‘I think it’s trash,’ and it’s possible that both of them are right – like, that’s not a plus in the movie space anymore. But it is a plus in the TV space. So, I think, in a weird way, to make a show about this subject and to not have people somewhat polarized by it is kind of an abdication of responsibility as a filmmaker. You know, if you’ve made something about this subject that doesn’t push people around, then you probably didn’t go deep enough.

DEADLINE: And how did you guys come up with this very different approach from the first installment? I know that you wanted new characters and actors. But this is a whole new format and very indie in many ways, isn’t it?

SODERBERGH: (Laughs) This was by request from Amy and Lodge. They were obviously tasked with figuring out how they wanted to approach Season 2. It was always part of the design that every season there would be a new character, a new place, and after a certain amount of consultation, they came back to us and said, ‘Look, we’d like to split this down the middle.’ An approach that would enable each of us to write and direct our own episodes.

DEADLINE: Did you sign on right away?

SODERBERGH: Basically because, coming out of Season 1, they both felt like they had very specific approaches to how they would like to do Season 2. So, instead of kind of handcuffing them together, when they came back and said, ‘We’d like to both go off on our own,’ a frolic of our own, we said, ‘That sounds great.’

DEADLINE: With that in mind and the perspective of production and time, what do you think about how it all turned out?

SODERBERGH: I think it turned out really well, honestly. It’s exactly what you said, which is, ‘Okay, if we’re really going to embrace this sort of indie approach, for lack of a better term, how do we double down on that?’ And there are three ways, I think, in which we were able to push this idea of total independence even further.

One is just the concept itself, of splitting the show in half. The second is that when you see what Lodge and Amy both did individually, you know, there’s no universe in which these episodes survive any kind of normal development process. They’re too fucking weird.  And the third is – and this came from STARZ, which I thought was a real master stroke – was the idea of airing them in pairs. Because what that does is to really amplify the wild divergence in approaches that both of them took, while at the same time, sharing a sort of common core theme.

DEADLINE: What is that common core theme to you?

SODERBERGH: It’s a core theme of, ‘Why don’t we focus more on what happens to the people around someone who is a GFE?’ It’s, ‘What’s the collateral effect of getting close to a person who does this for a living?’ That’s what they both did, and again, looking at the difference in how they just explored that single idea is such a clinic in what a filmmaker does, in what an independent filmmaker does. So that and airing the episodes as couplets, I think it’s going to bring things out of both Amy’s and Lodge’s episodes that I think might not be as rich if they were just airing on their own.

DEADLINE: As an executive producer, under this new approach, how much were you hands-on this time around with Girlfriend Experience with Amy and Lodge?

SODERBERGH: I’m trying to take my cues off of them and off of the situation in general. Obviously, whatever they have written, I read to give them my thoughts. When they’re shooting, they’ve adopted the same approach I do when I shoot, which is, they don’t post dailies. They post cut scenes, and I watch those, and then when the episodes come in and they’re all put together, then I watch those again.

If there’s a business issue, something that’s more of a pure production issue that I need to get into or call somebody to help solve, I’ll do that. But I’m trying to, sort of, only be present when my presence is required. They know what they’re doing. They don’t need me looking over their shoulder

DEADLINE: This sort of relationship with fellow filmmakers is nothing new for you, is it? Besides this kind of work with Amy and Lodge, you’ve had similar relationships with Channing Tatum, and you were a big supporter of the Russo Brothers at the beginning of their career, when no one would touch their flick, Pieces. Where did that come from?

SODERBERGH: I think that’s learned from the way I was parented. I think it was learned from the people early in my life, when I started making films, who mentored me, like Michael McCallum at LSU. I was fortunate that I was given both a lot of freedom and a lot of responsibility. I wasn’t punished for my mistakes, as long as I didn’t make the same mistake over and over again.

DEADLINE: It’s a too-rare trait in a competitive business, to be looking out for others…

SODERBERGH: I don’t know. I mean, it’s hard for me to speak for the industry as a whole. But I think, in my case, it’s purely my response to seeing talent. When I see someone who I think is talented, my initial impulse is to want to talk to them. And in talking to them, obviously, the future comes up, and more often than not, I find myself offering to help or asking them what they want to do, and it sort of evolves from there. It’s a very organic thing that I don’t really analyze, you know?

I really liked Pieces, the Russo brothers movie, when I saw it. I thought it was really smart. I thought they were talented and I just wanted to talk to them and find out who they were, what they were like, and what they wanted to do, and it just kind of went from there.

DEADLINE: Went from there to a movie with you and Clooney, and now Anthony and Joe, now two of the biggest deals around, and shepherding the Marvel movie universe to its next blockbuster phase. Which leads me to ask, what will a third installment of  The Girlfriend Experience be like, having evolved it as you guys have?

SODERBERGH: Well, the idea’s that every two years, we find another duo of filmmakers. That was the sort of set-up from the beginning.

DEADLINE: So, if you do come back for another installment, Amy and Lodge will not be helming it?

SODERBERGH: It was always designed to be two and out.

DEADLINE: Will your involvement stay the same?


DEADLINE: Have you looked at anyone you think you might want to work with for a Season 3 and 4?

SODERBERGH: It’s funny. Now that the show’s done, I’ve just started thinking about that. Obviously, STARZ, because they think ahead more than I do, has started to ask, ‘So, what’s the plan?’ And I said, ‘Well, I guess I got to go find some more filmmakers.’ And so, that’s my homework.

DEADLINE: Do have some names?

SODERBERGH: I mean, there are a couple people that I’m aware of that I’ve kind of had my eye on. The good news for them is that they’re busy. You know, what was great about Amy and Lodge in this instance, because I wasn’t sure how they were going to respond when I pitched it to them, they leaped at it. They realized, wow, the ability to have complete creative freedom and just go out and do what we want to do and have this kind of platform. They looked at it as a gigantic movie, and they didn’t hesitate at all.

So, especially now that we’ve had the result that we’ve had, I’m hoping that I can identify some young filmmakers that will be similarly excited about the opportunity.

DEADLINE: Speaking of results and opportunity, you took a very public and very hands-on stance on the release of Logan Lucky earlier this summer. It came out from your Fingerprint Releasing and Bleecker Street. There were upsides and downsides, but what are the lessons learned for you going forward?

SODERBERGH: We actually have a meeting scheduled soon to see if we can unpack the whole thing and answer the primary question, which is why did the audience that we specifically and repeatedly targeted not show up?

Now, there are, I think, potentially a lot of answers to that question. But the thing you have to be careful about in all of these situations is not to assume too much. In this case, the sample size is one movie, and so we have to be careful not to make, sort of, secular changes in the approach that might’ve been just specific to this movie.

DEADLINE: Sounds like you’re going to take a brutally honest approach about the box office and the whole deal, no?

SODERBERGH: Look, I love this stuff. I love getting into the weeds on it. I want to go, ‘Okay, well, going forward, when Unsane comes out next year, what part of this do we want to replicate? What part of this do we want to rethink?’ It’s a very different kind of film. It’s going for a very different kind of audience. You know, ‘What do we keep, and what do we discard?’

DEADLINE: So you want to keep trying this anti-corporate POV, as my colleague Peter Bart called it?

SODERBERGH: Yeah. I want to keep exploring this paradigm, like I said. Get a larger sample size to dig a little deeper and see if it’s a long-term prospect.

DEADLINE: I have to ask, because it is one of my favorite shows of the past few years, is there a long-term prospect for The Knick or is that Cinemax experiment between you and Clive Owen really cancelled and over?

SODERBERGH: It’s over.


SODERBERGH: We had a big, big, big plan, maybe it was too big, for how to do it. But what I was just thinking the other day was, ‘I sure would like to find something else to do with Clive.’ Whatever it is, just because I had such a great experience with him. So he’s in New York right now rehearsing M. Butterfly. So he and I are going to sit down and catch up. So who knows what could come of that.

Title: Re: The Girlfriend Experience
Post by: WorldForgot on September 10, 2017, 01:13:14 PM
The trailer instance above seems to have been pulled so relinking:

I'm glad to hear they split the season. TGFE via Grindhouse rules. If this is to be Amy's last bout with the series (definitely is) then I want to see her take on the conceit moreso than Lodge's. Surely both will be affecting, but Amy's work has been much more my bag.
Title: Re: The Girlfriend Experience
Post by: wilder on September 28, 2017, 02:25:18 PM
Title: Re: The Girlfriend Experience
Post by: wilder on November 14, 2017, 12:48:46 AM
Harmony Korine acts in episode 3.

It's a real performance.
Title: Re: The Girlfriend Experience
Post by: WorldForgot on November 20, 2017, 03:43:43 AM
Harmony Korine acts in episode 3.

It's a real performance.

The tattoos were amazing.

I have uploaded some of my favorite stills from each storyline on 'ze tumblr. (http://inorganichideout.tumblr.com/tagged/the+girlfriend+experience)
Title: Re: The Girlfriend Experience
Post by: wilberfan on December 17, 2017, 09:08:46 PM
Twelve episodes in, but I can't decide if it's a good show, or a bad show.  Or if I like it or not.  The characters are mostly pretty difficult to like...
Title: Re: The Girlfriend Experience
Post by: WorldForgot on December 20, 2017, 06:22:20 PM
Twelve episodes in, but I can't decide if it's a good show, or a bad show.  Or if I like it or not.

Good (claustrophobic sex thriller) show.
Title: Re: The Girlfriend Experience
Post by: wilder on August 20, 2020, 02:53:54 PM
‘The Girlfriend Experience’: Season 3 Of Steven Soderbergh’s Starz Series Begins Shooting In London

Starz has announced that Season 3 of Steven Soderbergh’s anthology series The Girlfriend Experience has commenced shooting in London and has rounded out its cast.

Soderbergh said filming has commenced after the creation of what Soderbergh described as “The Safe Way Forward document” amid the coronavirus pandemic.

The Affair’s Julia Goldani Telles will headline the third season, playing Iris, a young neuroscientist on the London tech scene who begins to explore the transactional world of The Girlfriend Experience.

Joining Telles are Oliver Masucci (Dark) as Georges Verhoeven, Frank Dillane (Fear The Walking Dead) as Christophe, Daniel Betts (Atlantic Crossing) as Rupert, Armin Karima (Sex Education) as Hiram, Tobi Bamtefa (Feel Good) as Brett, and Jemima Rooper (Gold Digger) as Leanne.

The 10-part artificial intelligence storyline is written and directed by Anja Marquardt (She’s Lost Control), with Philip Fleishman and Soderbergh executive producing. It is a Transactional Pictures of NY LP production in association with Extension 765 and Magnolia Pictures.

Soderbergh said: “Our approach to this series has always been to empower independent filmmakers, and what Anja has achieved in blending cutting-edge technology with ‘The Girlfriend Experience’ world is super exciting and very provocative.”