This article will explore the subsequent development of the charity single genre in Britain as a response to perceived crisis in the domestic context. The development of the charity single as a response to crisis is usually exemplified by the release of the Band Aid single ‘Do They Know it's Christmas’ in December 1984 and the Live Aid concerts in London and New York in July 1985. To conclude, we propose that the term “post? feminism” may be used to describe Dunham's version of post-feminism for a millennial generation. Compared to SATC, we argue that Girls represents a novel approach to representing young US women's lives on television, re-articulating and re-mobilising existing conceptualisations of post-feminism. Yet what kind of post-feminist narrative is being constructed in Girls? How is post-feminism deployed in the show? In a comparative analysis of Girls (Seasons 1–2) and SATC (Seasons 1–6), we argue that although both shows certainly exemplify post-feminist culture, they are inflected differently in relation to the representation of sexualities, reproductive “choice,” and feminine embodiment. Following in the footsteps of the earlier post-feminist, woman-centred television series, Sex and the City (SATC), Girls explores numerous feminist themes centring on an exploration of what it is like to be a young white woman in contemporary US society.

Lena Dunham's cable television series Girls is a candid and comical look at the lives of four young women living in Brooklyn, New York.

Zipper Mouth by Laurie Weeks