Mikey Madison, like Emma Stone, struggled with shyness and anxiety. She tried acting as a way to confront her fears. Like Emma Stone, Madison will soon have a Best Actress trophy, an Oscar. Madison plays Anora, Ani, a stripper who wants a different life. She lives somewhere near Brighton Beach; her roommate pesters her, in a subtle way, about buying milk. (Ani is never at a loss for a reply. "Do you see any milk? Then I guess I didn't buy the fucking milk.") When an "escape hatch" seems to present itself, Ani just says yes. She doesn't think about what she is doing. Almost immediately, she is in over her head--brutally mistreated by a powerful man, assaulted, threatened, verbally abused. Ani pushes back; her acts of defiance are glorious to behold. But she is tilting at windmills. She has been crushed--long before she realizes she has been crushed. I didn't expect that this movie would be so honest, and I also didn't anticipate the sneaky, breatht
Over the weekend, Shaina Taub named Lynn Ahrens as "our greatest living Broadway lyricist." This is wrong. Here are better choices: Lisa Kron, Lin-Manuel Miranda, David Lindsay-Abaire, Tony Kushner, Steven Sater. Lynn Ahrens is clearly competent, but great lyrics should be surprising, grounded in character, poetic (without turning purple), and showing evidence of a sense of humor. Ahrens's characters tend to sound as if they were declaiming from a series of Hallmark cards, and this is not a compliment. By contrast, I think one of the smartest Broadway songs in recent history is "My Junk," by Steven Sater. Here, several teens sing about masturbating. You'll have to excuse me-- I know it's so off... I love when you do stuff That's rude and so wrong... I go up to my room, turn the stereo on... Shoot up some you--and the you is some song. Sater brings people to life in very few syllables. A teen tries to address her crush, and she seems to be speaking f