The show’s ability to maintain an air of secrecy, tension, and curiosity makes it one of this fall’s highlights.
As most of the country’s live entertainment is canceled for the foreseeable future, it’s all the more sad that “SNL” — which has returned in semi-full capacity with a live audience of paid first responders — is so unwilling to take risks in its premiere.
Shot vérité style (improvisation and observation-focused) over the course of five years, Murimi opts for short, understated shots of daily life imbued with the intimacy of a home movie.
As dancers’ primary purpose — to perform, to tell stories, to bring joy — has been almost entirely stripped away, we have, alongside the rest of the world, found ways to evolve.
If Ryan Murphy has one thing, it’s range. From “American Horror Story” to “Glee,” and from “Pose” to “Scream Queens,” the screenwriter and producer has proven time and time again that he can (and will) write any type of story.
In “The Boys in the Band,” seven gay friends throw a boozy birthday party, where a party game reveals the deep anxieties and hardships they have faced on account of their sexualities.