One of the most grounded moments in Late Night was an outburst from Katherine Newbury, played by Emma Thompson, in which she criticizes the younger generation’s craving for catharsis. Specifically, that the youth that she doesn’t identify with declares their flaws so openly in the hope of acceptance.
It was a particularly powerful line because we do find ourselves in a cultural moment of declaration, acceptance, or maybe even the latest casualty of cancel culture. There is a popular expectation to take a stance on things and to speak out that stance in as many public forums as possible.
We have developed a code of ethics for what we deem acceptable: Did they take a stance soon enough? Was it the right stance? Is it rock solid or on the fence?
This, and so many other important themes, are the crux of Late Night; a film that has a hell of a lot to say and somehow manages to say it all perfectly.
Mindy Kaling stars alongside Emma Thompson and the dynamic duo are backed by an incredibly strong supporting cast, including: John Lithgow, Hugh Dancy, and Reid Scott.
Nisha Ganatra serves as our director and a well-suited one to Mindy Kaling‘s script. Ganatra has directed many episodes of popular television comedies, and some with the distinct social blend we see at play in Late Night. Some of Ganatra‘s credits include: Transparent, The Mindy Project, Shameless, Girls, Dear White People, and Fresh Off the Boat.
It’s a rock solid cast backed by incredible creative writing. Let’s talk about Late Night.
Women and Professional Life in Late Night
Social discussion on diversity is the centerpiece of Late Night, so it’s easy to allege that that is the most important conversation in the film. This critic disagrees.
Beyond discussions on race, diversity, and socioeconomic and cultural privilege, there is a subtle current that is running through the whole of the film and dragging all other themes along with it. Late Night explores the very unique issues that women face in the professional world, while also touching on professional challenges that are less visible.
Consider, for a moment, the phenomenon of Imposter Syndrome. Imposter Syndrome is a psychological phenomenon (often associated with common mental health conditions like depression and anxiety) where individuals consistently doubt or belittle their own accomplishments. Imposter Syndrome is hallmarked by the fear of being exposed as a fraud.
When signing off on her popular late-night show, Katherine Newbury (Thompson) beseeches of her audience, “I hope I’ve earned the privilege of your time”. This initially comes off as a charming and quirky stinger from an elegant English comedian, but there’s more to unpack. In a particularly raw moment in the film’s third act, Katherine Newbury acknowledges to Molly (Mindy Kaling) that she suffers from depression.
Suddenly, “earning the privilege of [our] time” speaks to the challenges and insecurities of a woman who has battled her way to the top, while also doing battle with herself. It’s a poignant discussion on the way that mental health effects us professionally, a portrait of identity and “imposter” being mutually wrapped up in our passions and projects.
Katherine Newbury is a fantastic vessel for telling the stories of women and professional success. From the distinctly female perspective, her arc in Late Night is a fine example of the importance of female “likability” when it comes to positions of power.
We’ve seen the stereotype of the bitchy female power figure played out countless times in cinema. It strips a woman in position of power down to something raw and mean, often powerful women are shown as harsh and combative with other women in their space.
It’s a sad stereotype, but not to far off when you consider cultural narratives on women and power. You don’t have to dig to deep into the world of politics or business to know that a likable woman is preferable to a hardass who gets things done. Our culture values a woman’s likability over her capability and in 2019, we’ve got films like Late Night saying that we’re sick of it.
Late Night packs a double whammy in this discussion by viewing the concept of likability through both Molly and Newbury. Katherine Newbury represents the more traditional model of a woman who is too harsh, too confident, suffice to say too much and is feared for it. For writer Molly, her lack of likability stems from deep-seeded prejudices and resentment of her desire to have a seat at the table.
Both examples come from opposite ends of the spectrum and, therefore, encompass the whole of the experience. It’s damn good.
The “Token” Issue
The highest praise that I can heap upon Late Night is that, when it comes to social commentary and discourse, it is the most competently written and executed film that I have seen in some time. Late Night boldly faces questions of diversity, race, and has an incredibly honest discussion on privilege.
The film understands both the feeling of otherness that comes with entering an environment where one feels underrepresented, and the current sociopolitical culture that calls into question the circumstances and qualifications of any “new faces” that enter a particular sphere.
There are ample opportunities for Late Night to go the easy and predictable route, and to center this token hire narrative around blatant prejudice and hostility (be it garden variety racism or misogyny). That’s not what the film does, however. Instead, it speaks to the subtle isolation that comes with awkwardness and the speculation.
It’s easy to guard against a bully. It’s more difficult to remind yourself of the fact that you deserve to be where you are, when everyone around you is doubting it. The character of Molly is written to perfectly convey this feeling and it is executed to perfection.
Privilege has become a popular topic among the socially woke, even though we sometimes are lacking in ways to explain and understand it. In Late Night, the privileges of other characters are not vilified. They function just as they do in the real world: a quality that cannot be ignored and weighed.
When discussing privilege in Late Night, the focus is on how the privilege of one character colors the way they perceive (and are perceived by) other characters. It is the foil, and somehow parallel, of tokenism. It’s a fascinating way of studying the concept that is quite innovative, coming from Late Night.
Late Night as a Feminist Portrait
At the end of the day, I would categorize Late Night as a feminist portrait. And I’m talking real feminism. The intersectional kind that acknowledges age, and race, and sexuality, and the feminine and the masculine, and the underlying systemic foundations that inform it all.
If it seems like that’s a lot to pack into a light comedy, you’d be right! Yet, Late Night pulls it off without sacrificing the levity and joy of the story.
My final thoughts on Late Night: It’s funny. It’s witty. It boasts a stellar cast and it is carried by fantastic performances and even better writing.
It’s a film that is just as much a belly laugh as a wry chuckle; it’s good at face value, it only gets better as you digest the nuance. I offer it a warm recommendation. I hope I’ve earned the privilege of your time.
What did you think of Late Night? Who are your favorite strong characters in film? Let us know!
Late Night will be released in th US and UK on June 7, 2019. For all international release dates, see here.
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