Together, the pair never condescend to the material, or seem 2023-ishly aware of the changes in our society since 1999. These are quibbles with a lovely and thoughtful series that is particularly well-acted: Whitman is likely overdue for a leading role like this, and her singing is sweet and tuneful, as is her chemistry with Valdes. Miguel, for instance, is already paranoid, anxious, and teetering on the edge of losing it: What does the obligatory-feeling episode in which he takes a drug trip, pushing him yet farther, add to our understanding of his situation? Similarly, Lindsay’s anxieties about hiding her inner weirdo come to feel overstated, or like more than this sweetly intended but slight show can bear. Some of the storytelling is frankly less developed than the songcraft. (Thomas Kail, of “Hamilton,” directs their performances, and the transitions into song, elegantly.) Kristen Anderson-Lopez and Robert Lopez’s songs are predictably lovely, and the show’s most effective method of conveying their respective disconnection. Shortly after meeting Valdes’ Miguel, she’s tossing his briefcase over a fence, as if uncertain of how to have a normal conversation.īut that, of course, is where song comes in, and both characters, when at a loss for words, express themselves through music. And, like many things bottled up, Lindsay’s oddities - all human-scale and relatable enough - express themselves explosively. Having moved to New York City to pursue her dream of becoming a writer, Lindsay has a painful block on her emotions.

Signal 23 tv movies