Fosse/Verdon was at its best when it was doing what Bob Fosse couldn't do himself

The Ringer

"Unlike All That Jazz, Fosse/Verdon opted for the 'soft' ending, even if it was the one that’s closer to the truth," Lindsay Zoladz says of Tuesday's finale. "And I liked it for that: This show was at its best when it was irreverent toward the wills of its subjects, at its most purposeful when it was seeing from an angle that Fosse himself couldn’t. That’s why the best episode was the fifth, 'Where Am I Going?,' a stand-alone one act that took place in a moment of pause just after Fosse’s whirlwind year, when Bob, Gwen, and their current partners all found themselves rained in during a claustrophobic beach house weekend. The series was often faithful to the style of quick cuts and subjective time-jumps that Fosse and his editor Alan Heim (who won an Oscar for his work on the film) perfected on his 1979 masterpiece, but this slow-paced bottle episode provided a refreshing respite. It was a rare chance to just hang out with these characters, admire the series’ brilliant performances, and luxuriate in its smoky haze. The show was, for once, doing something Fosse found impossible to do himself: sitting still."

ALSO:

• One of the best things about Fosse/Verdon is that despite her second billing, it acknowledges how integral Gwen Verdon was to Bob Fosse’s success
• Lin-Manuel Miranda tells how Fosse/Verdon pulled off his secret cameo
• Fosse/Verdon executive producer Nicole Fosse discusses making the FX series as the only daughter of Bob Fosse and Gwen Verdon
• The Americans and Fosse/Verdon executive producer Joel Fields discusses the line between writing about fictional bad people and real bad people