Opinion | Jenni Miller: 'Late Night' puts Mindy Kaling and Emma Thompson's feminism in the spotlight
Too few movies even dare to address intersectional feminism, never mind ageism, and “Late Night” does both unabashedly. I used to cringe when asking directors and actors about anything related to women’s rights, anticipating an interview cut short or angry emails from publicists later; now it’s a red-carpet talking point. It’s awesome to see the movie take the conversation even farther.
Part of the problem is that Katherine’s writing staff represents a rather homogenous slice of life — they’re all white guys — or that most of them haven’t even met her until she storms into a writers’ meeting. Obviously, the solution is diversity, an option that irks Katherine almost as much as the idea of being forced to perform carpool karaoke with her guests.
Molly, of course, gets the job by virtue of her gender , besting the snotty and equally unqualified little brother of a cute senior writer named Tom, played to smarmy perfection by “Veep’s” Reid Scott. Molly later happens upon Tom at a food truck grousing on his phone about the latest diversity hire — she’s probably a single mom, too, he complains — and he’s horrified and embarrassed to be caught red-handed.
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