We can't get enough of the calm demeanor of Sam Rockwell's portrayal of the outward appearance of Bob Fosse contrasted with the inner demons that keep reminding him that he doesn't measure up and must excel with feverish creative energy.
We can't get enough of Michelle Williams's "death stare" when conveying the moments of Gwen Verdon feeling slighted and is about to retaliate like an avenging angel.
We can't get enough of the fabulous screenwriting for the series from writers who clearly know from experience the cutthroat world of professional dance in New York.
We can't get enough of the endlessly fascinating rehearsals where Fosse's genius takes place often in a toxic environment. In this finale to Season 1, the best scene was the audition of Anne Reinking for the role of Kate in "All That Jazz." Bob puts Anne through a grueling, Method acting exercise in which she is reduced to tears as she recalls her personal relationship with Bob. It was a senseless and cruel drill because Bob knew her work and had already pre-cast her in the role.
We can't get enough of the good times with Paddy, Neil, and other luminaries of the New York theater and dance scene.
We can't get enough of Bob working in cramped editing rooms, brilliantly collating footage for the final cuts of his films. His work in framing an image is unprecedented. Next up for Season 2: Bob's directing of "Star 80," his final, underappreciated film.
We can't get enough of the glory days of the mid-twentieth-century New York dance world with Agnes de Mille, Gower Champion, and Bob's first wife, the brilliant dancer Joan McCracken.
We can't get enough of the examples where Bob uses choreography and film direction as a form of personal self-expression. This is most apparent in the focal point of the final episode where we watch a rehearsal of Bob's autobiographical film, "All That Jazz."
We can't get enough of the selfless, long-suffering Anne Reinking, who gave so much of her life to preserving the "legacy" of Bob and Gwen.
We can't get enough of little Nicole Providence Fosse. Was she a miracle baby, due to Bob's low sperm count (they just weren't good "little swimmers")? Or was her father someone other than Bob?
We can't get enough flashbacks of the young Bob Fosse, including his tragic history of abuse as a child performer, the role of his idol and mentor, Fred Astaire, and his early projects, leading up to the great success of the stage version of "Charity."
By now, it should be clear that we can't get enough of Fosse/Verdon. Let the cameras roll for Season 2!!!
We can't get enough of Michelle Williams's "death stare" when conveying the moments of Gwen Verdon feeling slighted and is about to retaliate like an avenging angel.
We can't get enough of the fabulous screenwriting for the series from writers who clearly know from experience the cutthroat world of professional dance in New York.
We can't get enough of the endlessly fascinating rehearsals where Fosse's genius takes place often in a toxic environment. In this finale to Season 1, the best scene was the audition of Anne Reinking for the role of Kate in "All That Jazz." Bob puts Anne through a grueling, Method acting exercise in which she is reduced to tears as she recalls her personal relationship with Bob. It was a senseless and cruel drill because Bob knew her work and had already pre-cast her in the role.
We can't get enough of the good times with Paddy, Neil, and other luminaries of the New York theater and dance scene.
We can't get enough of Bob working in cramped editing rooms, brilliantly collating footage for the final cuts of his films. His work in framing an image is unprecedented. Next up for Season 2: Bob's directing of "Star 80," his final, underappreciated film.
We can't get enough of the glory days of the mid-twentieth-century New York dance world with Agnes de Mille, Gower Champion, and Bob's first wife, the brilliant dancer Joan McCracken.
We can't get enough of the examples where Bob uses choreography and film direction as a form of personal self-expression. This is most apparent in the focal point of the final episode where we watch a rehearsal of Bob's autobiographical film, "All That Jazz."
We can't get enough of the selfless, long-suffering Anne Reinking, who gave so much of her life to preserving the "legacy" of Bob and Gwen.
We can't get enough of little Nicole Providence Fosse. Was she a miracle baby, due to Bob's low sperm count (they just weren't good "little swimmers")? Or was her father someone other than Bob?
We can't get enough flashbacks of the young Bob Fosse, including his tragic history of abuse as a child performer, the role of his idol and mentor, Fred Astaire, and his early projects, leading up to the great success of the stage version of "Charity."
By now, it should be clear that we can't get enough of Fosse/Verdon. Let the cameras roll for Season 2!!!
