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As for the main subject of what’s in this frame: The actors. My goodness gracious, these actors turn in sterling work. You can feel the experience working as an ensemble on the stage, the comfort in staying actively engaged as a listener in the background while another player gets their solo, the shining empathy radiating through their eyes. Everyone gets opportunities to shine brightly, but I’m particularly struck by de Jésus as Emory, our most performatively campy character whose heart beats deep; Washington as Bernard, whose transition from “I’m having fun at the party” to “This party will ruin me” is powerfully relatable; and Watkins as Hank, the most recently out, straight-passing, and torn between all kinds of sides. These characters love each other (well, maybe not our poor Cowboy, played by Carver as an endearing dummy) even as they purposefully get under each other’s skin; getting under each other’s skin is how you get to the heart, how you love each other at your most raw.


Parsons, our lead, is asked to dig the most rawly, to communicate a wildly varying arc, to risk losing our sympathy on his unrelenting descent toward “the truth,” no matter who gets hurt along the way, no matter how insensitively he frames it as “a game.” I’ve never seen Parsons work like this before; he weaponizes his neuroses past the point of relatable comedy into a wild, untethered form of loathing in every direction. It’s a fascinating performance, even if on first watch, it sometimes misses the naturally connecting dot I’d want from the screenplay, feeling abrupt, jagged, and unmotivated instead. I suspect this is a feature, not a bug, of Parsons and Mantello’s read on the character, and the final moments of the film, especially as they relate to Michael and Alan’s self-conclusions (or lack thereof), seem to solidify this intention.