An ambitious and audacious film, the director mentioned wanting to combine the "horrendous and the humorous" which in any film would be a challenge, more so here.
The tone of the film thus is a challenge, but remarkably nailed at times. The colors in it, hint at the lack of extremes. Cassie's easter egg fingernails serve as a cross-over from her good girl to Goodbar tending in the nightclub scene.
Carey Mulligan's performance is fantastic capturing the dichotomy in ways well beyond her wardrobe. She is not the only outstanding actor here, Alison Brie, Bo Burnham also stood out, interesting that they both may represent opposing sides in the "argument" although keep an eye on which side they wind up on.
And really there should be no "argument" but the sexual double standard as an industry standard obviously persists. I cannot tell how much recently reading Chanel Miler's "Know My Name" affected me while watching this. Could it be Emarald Fennell wants to take some scenes in the film way too far because we should be outraged even when things go a little too far?
Waking up the next morning, and considering the slap of the film helped me appreciate it more. One hopes that is the case for Chief Justice McLovin and many more. Alas, it does not bring Nina, and so many other daughters back.
One other small note on the clash of extremes: the original soundtrack set against the pop numbers underscored the sense of uneasiness. And to be clear, it is an important uneasiness.