"Of those screenwriters who depict the lives of neurotic, privileged
youth, [Whit Stillman]'s the oft-overlooked link between Woody Allen and Lena Dunham."
False not least because Woody Allen, bless his heart, was never all that interested in youth (Mariel Hemingway in Manhattan being the exception that proves the rule): in Annie Hall he's almost 40, and whatever age Diane Keaton is supposed to be, she's identifiably adult; all the more so for the other principals in Manhattan, who deal with mid-life crises. Ironically, this makes me appreciate Woody Allen all the more: for all his faults he is primarily interested in examining what it means to be an adult. Lena Dunham might want to take some notes.