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The series, like Skate Kitchen, features beautifully propulsive sequences of skateboarding across New York, but shines brightest in its most stripped-down, documentary-adjacent moments of mundane girl talk: which strips to wax your pubic hair? What tricks do you use to not respond to a fuckboy’s texts? What didn’t you know when you were harassed, or assaulted, or belittled that time in the past, and how do you convince yourself it wasn’t your fault? These conversations, culled from real life, the type that really blur the line between acting and observing fully formed characters in their natural habitats, expand on the movie and offer an immersive, cathartic hangout.īetty, to its credit, understands that some of the most formative, generative moments in young women’s lives come from just hanging out, talking about today. Janay grapples with a disturbing revelation about her best friend and YouTube show partner, a #MeToo storyline that Betty handles delicately without resorting to emotional gimmicks.
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Camille leans into her attraction to Bambi (Edmund Donovan), a skater veteran and “clip” maker Vinberg is especially strong in tracing the intoxicating burn and cold shadow of attention, and the belief that, as a woman, you’re being taken seriously. Kirt’s relentlessly mellow, karmic vibe – unless she’s defending her friends with immediate punches thrown – struggles under the weight of necessary apologies. (Guys’ dismissal of girls with boards does, however, course throughout the series.) Indigo’s drug deal hijinks become a referendum on friendship and forming her own ethical boundaries Honeybear’s timid wade into dating another female skater, Ash, reveals a person outwardly bold in style but privately circumscribed by anxiety. Still, Betty does advance stories that are gripping in their believable un-sensationalism – a kaleidoscope of experiences for young women in New York that doesn’t feel too overtly “girl power”. The effect feels similar, I’d imagine, to Moselle’s experience on the train: observing a colorful conversation, and somehow following it through the next several hangs. The story unfurls underhandedly, with the ebb and flow of a tide seemingly off-hand comments – Camille forgot her backpack at the park, oh shoot, her friend’s wallet is in there, maybe try “Find My iPhone”? – become narrative arcs for whole episodes. The shades beneath these at first glancingly presented personalities develop like Polaroids, in unstilted conversations as the summer days spill on (the episodes take place over a few weeks in the summer of 2019). There they meet Honeybear (Kabrina “Moonbear” Adams), an enigmatic skater from Staten Island who lets her style – mismatched sneakers, open vest over nipple pasties, camera always in hand – talk for her Camille (Vinberg), a placid-faced, long-haired shredder who’s apathetic when it comes to female solidarity (she’s in with the boys) and Indigo (Ajani Russell), a Rihanna lookalike who deals weed with an acquaintance of the group.
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The two are bound for the skate park, where they’re hosting a girls’ “skate sesh” advertised on Instagram. In this version, Kirt (Moran), the group’s laidback leader, cuts through downtown Manhattan on her board, a jug of Arizona iced tea in one hand and her phone, FaceTiming her best friend, Janay (Dede Lovelace), in the other. The story doesn’t so much kickstart as, like a ranging summer afternoon with friends, spitball forward into a shape more distinctive for its momentum – flirtations observed in line at a Bushwick bar, tension clear in an aborted run for Boba tea – than its resolutions. Moselle, who co-wrote, directed and executive-produced the series, is by now an expert in this world, and Betty is immediately engrossing despite a wariness of the signposting common in many half-hour television series.