Naomi Fry on “The Girls: a Khloé Kardashian Project,” the six-part Hulu reality show that gathers Khloé’s “incredible real-life circle of besties” — six LA influencer-businesswomen — for another installment of the family’s two-decade content empire. The tradition of women-group narratives is rich; the Kardashian version is a husk.
- The cast: WAGS LA veterans with a hair-extension line, a Sports Illustrated model married to an ex-NFL player, a lash-extension-and-children’s-deodorant entrepreneur, and Khloé’s twin BFFs Malika and Kadijah. None would see each other again without the Hulu paycheck.
- The deadness: cast members clock in at the reality-show office; filming schedules, promo shoots, and advertiser showcases become the show’s actual content.
- The AI-era barb: the show feels “created by Khloé throwing the terms ‘reality show,’ ‘Kardashian,’ ‘women,’ ‘BBL,’ and ‘money’ into Claude and hitting Enter.”
- The ideology: bodies and money prized above everything — a $250,000 surrogate is rejected in favor of “fifty K for my titties”; a too-small bouquet is declared unromantic.
Fry’s point isn’t just that the show is bad — it’s that the Kardashian machinery has run so long it now produces only the appearance of drama, with the women themselves admitting they feel dead inside. The spinoff is the family business as pure, hollow process: making and promoting the show has become the show.