House Logo

David Hull (#110 of 2)

Insecure Recap Season 2, Episode 2, “Hella Questions”

Comments Comments (...)

Insecure Recap: Season 2, Episode 2, “Hella Questions”

Justina Mintz/HBO

Insecure Recap: Season 2, Episode 2, “Hella Questions”

“You frame a lot of things in your life with ’should,’” Dr. Rhonda Pine (Denise Dowse) says to Molly (Yvonne Orji) toward the beginning of “Hella Questions,” the latest episode of Insecure. The therapy session is considerably different from the one we saw in “Hella Great,” in which a tight-lipped Molly assured her therapist that everything was fine. Spurred by the realization that she’s making less money than Travis (David Hull), her colleague and physical manifestation of white male mediocrity, Molly begins to open up to Dr. Pine, revealing more about herself than she realizes. Dr. Pine asks Molly if she’s heard of “magical thinking,” which is, as she puts it, when we believe what we want will influence the external world as opposed to accepting things as they are. “If those ’shoulds’ didn’t come to fruition,” she asks, “would you feel comfortable with your life looking a different way?”

The Best of Off-Broadway’s Theatricalization of Film: The Flick, Belleville, & Really Really

Comments Comments (...)

The Best of Off-Broadway’s Theatricalization of Film: <em>The Flick</em>, <em>Belleville</em>, & <em>Really Really</em>
The Best of Off-Broadway’s Theatricalization of Film: <em>The Flick</em>, <em>Belleville</em>, & <em>Really Really</em>

The best Off Broadway productions so far this year—The Flick at Playwrights Horizons, Belleville at New York Theatre Workshop, and Really Really at Manhattan Class Company—would probably make lousy movies. There’s no shame in that, but plenty of irony. After all, the traditional well-made play still serves as the model for most film scripts. To stake out fresh territory, talented young writers like Annie Baker, Amy Herzog, and Paul Downs Colazzo have veered away from the classic theater conventions annexed by films. Turnabout being fair play, they’ve theatricalized film techniques and genres to come up with something all their own.

Baker’s The Flick is a virtuosic example of naturalism. But it’s also a high-concept exploration of the push-me-pull-you relationship between film and theater. Collegiate movie nerd Avery learns how things work behind the screen at the Flick, a movie theater in Worcester County, Massachusetts. His teachers are the 35-year-old, longtime attendant Sam and 29-year-old projectionist Rose. The plot is minimal and the running time is maximal, giving director Sam Gold room to exhibit how theater can match film’s vaunted prowess at exhibiting the flicker of feeling crossing someone’s face.