Name: Free Expression on the Weekend: Movies, TV Shows and Memoirs
Uploaded: 2026-05-07T20:02:00Z
Duration: 9 min 32 s
Description: John J. Miller on “Animal Farm” and Free Ex staff Jack Butler, Mary Julia Koch and Emma Camp on their pop culture obsessions of the week: Lena Dunham's memoir "Famesick," "The Devil Wears Prada 2" and "Slow Horses."

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John J. Miller on “Animal Farm” and Free Ex staff Jack Butler, Mary Julia Koch and Emma Camp on their pop culture obsessions of the week: Lena Dunham's memoir "Famesick," "The Devil Wears Prada 2" and "Slow Horses."

https://m.wsj.net/video/20260507/448b19ef-315f-4fe3-9f23-39c03f2c98e3/1/hls/manifest-hd-wifi.m3u8

Free Expression on the Weekend: Movies, TV Shows and Memoirs 

This week, our columnist John J. Miller wrote about the new animated adaptation of "Animal Farm." Spoiler alert: he didn't like it.

The new "Animal Farm" movie, first of all, is just not a very good movie. I was looking forward to this movie. I'm a great buff of George Orwell. It's not funny, it's not compelling, it just fails on its own terms as a movie. Even worse is that it's got this amazing source material which of course is George Orwell's book "Animal Farm." A movie that adapts a book like this deserves some creative license. But they've run away from the themes that make this an enduring classic. "Animal Farm," of course, is fundamentally a satire of the Soviet Union. It mocks Joseph Stalin as a betrayer of the Russian Revolution and the Soviet Union as an example of regime corruption. And in certain ways, "Animal Farm" is rooted in its time as a kind of Cold War document. The movie abandons all of this, and it doesn't want to discuss the Soviet Union, which is fine because the Soviet Union is gone. But it actually runs away from these themes that make it an enduring classic, the stuff that makes "Animal Farm" a classic that is still worth reading today, even though Joseph Stalin and the Soviet Union, even though they're long gone. And instead it wants to have a kind of critique of capitalism, which isn't even very smart, by the way, the one that they offer. Instead, they wind up just making fun of a villainous character who vaguely resembles Elon Musk and Jeff Bezos. This is turning the book on its head. And it runs away from what is great about George Orwell's original book. And George Orwell had the idea for "Animal Farm" in the 1930s. And there's a particular moment when he got the idea for it. He wrote about this once, so we know. And he said he watched a particular case of animal abuse in England. He saw a boy whipping a horse, and he thought treating it poorly. And the idea occurred to him, if only the animals knew their own power, they could rise up against their human masters. Wouldn't that be an interesting story? And then he connected this with the idea of how the different classes exploit each other. And then the final connection was drawing from his own experience of serving as a soldier in the Spanish Civil War, where he saw the evils of Stalinism, the abuses of Stalinism, the terror of Stalinism. He thought, "I'm gonna bring all that together in a story." The makers of the movie say their message is a message of anti-greed. But if they wanted to make a film that tried to capture the spirit of the original "Animal Farm," they would've been more politically daring. They might have written it about the rulers in Beijing, the ayatollahs in Iran, the dictators elsewhere. They might have turned their allegory into something like that. That of course would've been bold. It would've exposed them to criticism. They call it an anti-greed movie, and maybe at a certain level it is. But what they're really doing is lampooning some of the great entrepreneur of our day. And I was hoping it would engage with the spirit of the original and bring it into the 21st century. And it chooses not to do this. Don't bother with it. Go read the book.

Then I sat down with my colleagues, Emma and Mary Juliet, for a quick pop culture recap on the week.

I read Lena Dunham's new memoir "Famesick" in like three fevered sittings over the past week. If you're a fan of "Girls," it's really great. It has a lot of the sort of juicy nitty-gritty as to how that show got made, how she got kind of discovered, what it was like to become super famous super quickly. It also sort of led to a Lena Dunham renaissance. Several of her former critics are apologizing to her for how mean they were to her during the peak of her fame. She was at the Met Gala. The book itself is a huge hit. I think it debuted on The New York Times Best Seller list. So yeah, people are recognizing that Lena Dunham is in fact the voice of her generation, or at least a voice of a generation.

Well, did these people understand what "Girls" was about in the first place?

Well, so this is the problem. So I was a bit too young to watch "Girls" when it came out. I was conscious enough of what was happening culturally that I got some of the criticism of "Girls" through cultural osmosis at the time. I remember reading about how it was problematic because the characters were so annoying and they were all white and it wasn't diverse enough and whatever. And you watch the show, and it becomes immediately obvious that all of the characters are terrible people. That's what makes the show funny. Watching it kind of 10 years or so after it was made, it holds up as just a good kind of ensemble comedy about not very mature or not very good people making their way in the world and hopefully growing up a little bit.

I recall Ross Douthat saying about it that it's actually a conservative show in the sense that it is a critique of the main characters, whether intended or not. And that sounds to me like this is what everyone is thinking of it now as.

Yeah, and the show kind of has a conservative ending in that how Hannah, the main character played by Dunham, how she grows up. She gets pregnant by kind of this brief fling. She decides to keep the baby. And she accepts a real kind of adult, quote-unquote, an "adult job" upstate. She leaves New York, has her baby, and takes on adult responsibilities.

I would say that if there's a show geared towards Gen Z right now, it would be "Euphoria," which unfortunately is not a great encapsulation of our generation. I've seen some people actually argue that "Euphoria" is conservative because it shows like the extremes-

Like what, because drug addiction is bad?

It explores the extremes of like the moral depravity. The argument that "Euphoria" offers a conservative narrative is that it proves how dangerous the excesses of progressivism are, where you see young women venerating becoming an OnlyFans model. It goes even darker where you have one of the characters, played by Zendaya, smuggling drugs. I don't fully agree with that argument, but I do think it shows just how dangerous sort of this disconnect from, you know, institutions, from community, sort of veering away from family life, veering away from... None of them might go to college. It's really sad. But I think probably that's the show that people would pin Gen Z on right now.

So what's the pop culture on your mind lately other than "Euphoria"?

So the Met Gala was on Monday, "Devil Wears Prada" inspired by "Vogue," but the parody of it is called "Runway." That came out last weekend, and it's been a huge success so far. It's made hundreds of millions globally in the box office. And I think part of the appeal is that it really plays into this feeling of nostalgia for like the early days of magazine culture, you know, back when women aspired to work at "Vogue," or "Runway" as it's called in the show.

As opposed to aspiring to work at "The Wall Street Journal."

Exactly. And I think, you know, there's this famous line in both shows where it says that the job a million girls would kill for would be to be the assistant of Miranda Priestly: she's the editor-in-chief of the magazine. You know, I think "Vogue" still has prestige and people would still kill for that job, but it's a completely different media landscape than in 2006 when the original movie came out. We now have the rise of influencers. You can be your own boss and sort of have your own platform if you're successful with leveraging social media. And interestingly, the real-life magazine "Vogue" has really played into influencer culture to try and stay relevant. I think, you know, it's a time where half of Gen Z now gets their news on TikTok. So if you want to stay in the conversation, it's a scary statistic. You really do have to meet young people where they are, and that often means hiring or featuring content creators. But you wrote about a show that is original.

But it didn't take 20 years to come out, "Slow Horses" on Apple TV. A lot of these shows on streaming services and on other, I guess, traditional networks, they take forever to come out. And this seems like something of a new thing. I was a big fan of "Lost" back in the day. That was a hard show to make, but they came out with a season every year, if I remember correctly, even in the middle of a writers' strike. I have my theories as to why it happens. I think a lot of the streaming show people think that because streaming is new they have to do things in a new way. But I actually talked to one of the executive producers on "Slow Horses," and he told me that the way they get it out so frequently is they make it like a movie, basically. They film each season all at once. And while filming one season they're finishing up post-production on the one that's already filmed and even scripting the one that's to come. So that's how they can churn these things out. "The Devil Wears Prada 2" took 20 years to come out. It took long enough that people became all nostalgic about the original, and that generated its own appeal. But TV shows, I don't know, something about them is inherently more transient. And so if you don't get something out, people kind of move on and forget. Fans ended up liking them either way. In the end, fans will get what they want.

Yeah, good and hard .