In 2006, The New York Post infamously labeled Paris, Lindsay, and Britney “The Three Bimbos of the Apocalypse.” But who is the fourth girl in that famous photo? Today, three Gen Z internet sleuths investigate that icon–Coco, an early 2000’s one-hit wonder who mysteriously vanished. Their epic musical quest leads them to uncover the truth, deliver justice, and rewrite pop history.
Especially in its latter half, “Bimbo” traverses the gap between the very online and the very not online with exuberant intelligence. Earworm and Bookworm have a lovely number about who they are in their private realities, when no one’s looking at them. For a show about pop stardom and fandom, it has a surprising amount to say about oblivion — and our inalienable right to it.
Though some technical elements are more confusing than illuminating — a lack of scenic or lighting differentiation between the “private” screen, where the YouTubers talk only to each other, and the public livestream was aggravating — Last Bimbo is a revelatory romp with enough cleverness to justify its twists.
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