Issa Rae’s ‘Project Greenlight’ Depicts a Perfect Storm of Hollywood Personality Conflict: TV Review

variety.com:

Daniel D'Addario Chief TV Critic Each episode of the new season of “Project Greenlight” begins with a worthy mission statement. “We’re choosing a woman director,” executive producer Issa Rae tells us, “because ‘Project Greenlight’ has never had one before.” Gina Prince-Bythewood, the director of films including “The Woman King” and also an executive producer here, adds, “It’s about time the world sees how many dope women directors there are just waiting to get their shot.” These are statements that are hard to argue with — “Project Greenlight,” this season, did choose a woman director, the first-time filmmaker Meko Winbush, to pull together a feature film, the sci-fi family drama “Gray Matter,” in just 18 days of shooting.

And Winbush, who is Black, is one of many who deserve a chance of the sort the industry doesn’t tend to hand out freely to women of color, something both “Insecure” creator Rae and Prince-Bythewood surely understand well. (They’re two of three putative “mentors” for Winbush on the show, along with actor Kumail Nanjiani, who also co-wrote “The Big Sick.”) And yet the show is purpose-built not to elevate or to celebrate Winbush but to somewhat ruthlessly pull apart the ways in which she might be made to look unready for the job and unsteady on her feet.

It’s a shockingly watchable series that evinces that sickly feeling of humiliation from a past, crueler era of reality TV — “The Comeback,” but make it indie. “Project Greenlight,” as a franchise, does have a long history, albeit as a show that, somewhat like a highbrow “The Voice,” has always generated fun television without forging any lasting careers.