Do you have a video playback issues?
Please disable AdBlocker in your browser for our website.
Due to a high volume of active users and service overload, we had to decrease the quality of video streaming. Premium users remains with the highest video quality available. Sorry for the inconvinience it may cause. Donate to keep project running.
In the third season, the events seem more comic and exciting, as an internationally recognized performance artist prepares to embark on a new experience in order to regain a major career. It seems that the task will be related to the idea of reconciling her relationship with her former lover and her performance partner, whom she has not seen for two decades.
The strangest and most vital of tributes to an art form: ferociously attuned to detail, deeply enamored with its subject, and yet able to be critical. And it's insightful.
For a satire, it still manages to hit those beats with dedication and is all the better for it. The comedy is just a bonus, and with this set of actors, it's an incredible start to the season.
Directors Rhys Thomas and Alex Buono nail the panoply of visual and rhythmic styles so thoroughly that if you didn't know what they were up to, you might actually buy the series' longtime conceit.
This show doesn't just mimic the form and topic of its source material but also its impact, the way that it's received. The show just keeps on nailing those subtler aspects of its satire.
The fake documentary skewers the pretentiousness and earnestness of documentarians, as well as the fact that people are willing to utter the most ridiculous and self-incriminating statements when facing a camera.
February 28, 2019
NPR
This episode, written by Meyers and Mulaney, fairly oozes with love of Broadway, love of Sondheim, and love of '70s weirdos with big sideburns. All to its benefit, to say the least.