D vs E?

Yes, I'm confused on this one too

same

The big question here is whether the author takes issues just with how Bordwell treats musicals, or whether his failure to adequately account for musicals points to a deeper failure in his theory. The firmer would be better characterized by D, and the latter by E. I think that we see evidence for the latter in the final paragraph, where the author notes that Bordwell fails to account for the ways that viewers construct genre.