At one point in La La Land, the tremendous new musical from director Damien Chazelle, a young actress named Mia walks dejectedly through a Hollywood production office, its bland hallways
lined with slightly taller, perhaps slightly more confident facsimiles of herself: all perky, saucer - eyed, red - headed ingenues gripping their
audition sides, hoping to break through a reality of constant rejection.
Beth (Fitzgerald) is more pliant and flirty, jovial
at auditions, and seems to be booking many more roles than Anna (Davis), who is far blunter and more eager to call out gender discrimination in their
line of work.