In many ways that is true—there are plenty of examples that reflect Dunham’s privilege as a white millennial woman, whether that be in how she satirized herself and other white New York twentysomethings like her in the HBO series Girls, or in the fact that the show, which was set in Bushwick, hardly ever featured people of color (a creative decision Dunham tried to correct by casting Donald Glover to appear in a couple of episodes as a Black Republican, though the plan ultimately backfired).
The three-year-old tweet made the rounds as many people of color called out the advantages that afforded Dunham not only the boldness to pitch a full series with just one page to a group of executives, but the Hollywood connections to actually get the show made. (Most television series pitches involve outlining multiple episode arcs, character development, and providing an overall "show bible" which places the overall direction of the series into one easy-to-read package.
In response to some now-deleted tweets in the thread on the THR story about her Girls pitch, other writers of color like Travon Free, echoed that the level of work expected from a budding Black writer pitching a show is far more than what is often expected of a budding white writer, and Dunham came to his defense.
Dunham has made a lot of blunders as a public figure who has not always weaponized her privilege to dismantle the structures that provided her with an upper hand in the first place, and she’s reconciling with those mistakes in an era where it would be socially irresponsible to deny that the privileges of growing up in SoHo as the daughter of two prominent artists and building connections in childhood would later position her for Hollywood success.
“The past ten years have been a series of lessons,” Lena Dunham said. https://t.co/StKzaQHuuf— W Magazine (@wmag) June 30, 2020