The first, crucial success of this script is that it doesn’t feel like bullshit.
Get. Tickets. Now.
Family secrets, and this is all you’ve got?
The performance gets in the way of the story.
Spending an hour with the Birdmann is kind of like tying your brain to your car’s antenna and letting it flap in the breeze
I laughed out loud—a lot.
At life number three, I started counting them down.
Vancouver, welcome Naomi Vogt!
Even if we’re never sure where we are, it’s hard not to appreciate the beauty of Gordon’s writing.
Modest and sweet, Sam Mullins’s Grandma’s Dead is always mildly engaging.