Hulu's 'How To Die Alone' Is The Breezy Workplace Comedy You Should Be Watching

Natasha Rothwell’s “How to Die Alone” streams its fifth episode Friday, and audiences have been eager to see more of the new Hulu show.

In the series, Rothwell, who rose to fame for her quick wit and sharp writing on “Insecure,” stars as Mel (short for Melissa), an overweight Black airport employee who is doing her best to get by until a near-death incident shakes up her life. The series confronts loneliness through the lens of a thirtysomething Black woman in New York and offers a breezy and comedic look at the ups and downs of her journey.

There’s been a ton of chatter about the first four episodes on social media, with users urging audiences to tune in to the series.

There’s a lot to appreciate about the new series, so the HuffPost Culture team gathered to share its thoughts on the show, its characters and storylines, and what we’re hoping for in Season 2.

Let’s Talk About The Cast

It took Natasha Rothwell creating her own show to get the leading role she deserves. And she doesn’t disappoint. The show describes her character, Melissa, as a 35-year-old JFK airport worker who’s afraid to fly, literally and figuratively. She has let life pass her by for most of her years until a near-death accident prompts a revelatory awakening. She created, wrote and executive-produced the show. It would’ve been easy to save herself the additional role as star, but given that this is her “most vulnerable work” to date, she told me, I couldn’t have seen it any other way than with her as the lead. 

The supporting cast includes Jocko Sims (“New Amsterdam”), Conrad Ricamora (“How to Get Away With Murder”), KeiLyn Durrel Jones (“Fear the Night”) and Elle Lorraine (“Insecure”) as Mel’s co-workers and friends. Bashir Salahuddin (“South Side”) and Ellen Cleghorne (“Saturday Night Live”) also appear in the show. It’s a truly aligned cast full of talented faces in Hollywood who’ve been around but we should be seeing more of. — Taryn

Yeah, I think it really is a testament that in order for Rothwell to be centered on a series, she had to create it for herself. And she actually has the chops to do it. It also really is a lovely, fun, diverse cast of characters. — Candice

It’s always moving to see creators have their art imitate life in such a deeply personal way. I couldn’t agree more that this leading role for Rothwell could’ve only been dreamed up by her. Reading how her own trip to the hospital nearly a decade ago inspired the premise of “How to Die Alone” put everything in the show into perspective. In this role as Melissa, we see Rothwell heal parts of herself onscreen in a way that’s especially captivating for audiences who, too, have faced the notion of loneliness during a pivotal time in their lives.

Honestly, it’s about time we see Rothwell step into her leading star power after her compelling turns in “Insecure” and “The White Lotus.” And she leads the role of a dramedy actor masterfully with a supporting cast that’s equally funny and sincere in their performances. I swooned over Jocko Sims as Melissa’s love interest, Alex (I couldn’t get enough of him in “New Amsterdam”), I cackled at Deshawn’s (Christopher Powell) jokes and nearly teared up over how Melissa finds community with girlfriends Allie (Jaylee Hamidi) and Tamika (Melissa DuPrey). I hope we get to see more of everyone in other projects because they’re all talented in their own right. — Njera

Funny and sincere is such a great way of summing it up, Njera! Everything about this show, from its premise to the performances, moves so seamlessly between laugh-out-loud hilarious and poignant. 

This conversation about the great cast reminded me of something Rothwell said on a panel at the TCA press tour this winter. Referring to Sims and Jones, who were on the panel with her, she said it was “a treat to be able to cast these beautiful, symmetrical men.” — Marina

The Writing And Plot

While the show as a whole is about Mel’s personal growth — taking flight, both literally and figuratively — I particularly liked that it’s partially a workplace comedy set at an airport. What a great idea. It’s one of those settings that may not seem so obvious for a workplace comedy but now seems so perfect in retrospect. The show’s rich tapestry of characters spotlights all kinds of airport jobs, people who often do a lot of invisible labor and go unsung, like the Hudson News clerk who sells you your plane read or the neck pillow that you forgot to bring, the luggage handlers who make sure your bags get on and off the plane, the air traffic controllers on the tarmac, etc. Once I started watching, I thought: Of course! There’s so much comedy and story to mine from their day-to-day lives at the airport.

Knowing Rothwell’s years of experience in the writers’ room of “Insecure,” the writing on this show does not disappoint. There are so many great jokes, one-liners and topical references right from the jump. Like in the first episode, I chuckled at how Umlaut is so obviously Ikea, but the show can’t call it that, likely for copyright and licensing reasons. But we all know what it is! — Marina

Haha ― so true, Marina! I read in her interview with The Wall Street Journal that she came up with the airport setting because she was constantly flying here, there and everywhere while working on “Insecure” and got really curious about the folks who work inside one. And I’m always down for a workplace comedy!

Though, I can’t say the series is particularly great. I think it’s good, not great. Like, I enjoyed it well enough and really appreciated that it has 30-minute episodes and that, most of all, it’s breezy. But I watched it several weeks ago and much of it hasn’t really stuck with me beyond what I’ve already said. I wonder if that’s my pandemic brain or that I’ve just been watching a lot of heavy stuff and really, desperately needed this light offering but didn’t necessarily retain much of it. Hard to pinpoint why.

I know “How to Die Alone” has been renewed for another season, and I really want to see Rothwell win. So I’m really curious to see how the story will continue and allow her to be messier or more complicated. The title of the show is so interesting and provocative and really indicated that it could go to even darker places, but it never really does in its first season. I also wish Rothwell’s character was more sexual in the way Aidy Bryant’s character was on “Shrill.” Rothwell’s character marginally has love and romance on the brain, but I’d honestly just love to see her get a bit messier. — Candice

I definitely was hoping that she’d take it there a bit more in the romance department, Candice. That’s something I’d love to see in Season 2.

It’s such an easy watch. I didn’t realize how much of a void I needed filled when it came to comedic television. The one-liners and cultural references were great, and the depth in the plot gave a good balance with the surrealistic elements. One of my favorite scenes is Mel’s monologue at the bar from the pilot. There’s some really great writing in this first season, and I really want them to take it there. — Taryn

I’m so glad you all called out safe romance in the show because I kept waiting for them to really take it there. Perhaps that’s how Rothwell intended to set the pace for the show, and maybe we’ll get there in Season 2, but I definitely think more spice would make things way more interesting and messy (because who doesn’t love mess?!).

And, yes, Marina, it’s so nice to see the workplace comedy expand to new territory! Airports are filled with so many different departments that could be mined for comedic material. I’m glad Rothwell took a risk there. JFK and Melissa’s fear of flying — both in her personal life and on actual airplanes — is the perfect juxtaposition that makes the plot even more intriguing. I hope this starts a trend for more workplace comedies to take place in unconventional locations. Give us a factory, or a nursing home or, hell, a newsroom next! — Njera

We Love To See Natasha Rothwell Have Her Moment

This show feels like Rothwell knew that if she was going to have the big moment she deserves, she was going to have to bet on herself and knock some doors down. That’s powerfully poetic and in line with this show’s plot. Since Rothwell’s sketch comedy days, she’s been working tirelessly on her craft. And her role as actor, producer and writer on “Insecure,” where she got on many folks’ radar, proved that it was easy to root for her.

The inequity in Hollywood doesn’t always allow for creators like Rothwell to win. We’ve seen, time and time again, plus-size Black women actors get cast as underdeveloped sidekicks and caricatures. By telling her own story, Rothwell challenges that and in a truly comedic and relatable way. That in itself is a huge reward for not only her but all of us. — Taryn

I’m still thinking of Candice’s point about how Rothwell had to create this show in order to get her moment in the sun. It’s a powerful but also disappointing reality that Hollywood still hasn’t figured out how to create more onscreen opportunities for plus-size Black women actors outside being someone else’s support. It’s also a testament to Rothwell’s journey that she gets to knock down doors for the next line of creators to make space for the kind of roles they’d like to see. I agree that that’s the biggest reward for her, Black women and every other community that just wants to feel more seen. — Njera

Here’s What Really Works 

Natasha Rothwell in a lead role. And the pacing. I cannot emphasize enough how great it is to watch a show that doesn’t have 60-minute episodes. Score!

I also really appreciate how inclusive the cast is — and not in a binary sense. Like, white folks are actually in the background, while a bevy of people of color across the spectrum are in the foreground. I dig that, and that is true to what it’s like to be at an airport. — Candice 

Co-sign all of that, plus the unique premise and the jokes. The show is just such a joy to watch, one of those shows where you’ll keep hitting play. — Marina

That’s a really good point about so much of the show taking place in the airport. I loved seeing the dynamics between the co-workers as Mel navigates her day-to-day. The side characters really bring the workplace to life. Plus-1 to the episodes being only 30 minutes. — Erin

Yes, yes, yes to 30-minute episodes being a thing here. It’s not too much and doesn’t leave me feeling like I didn’t get my fill of each episode. Also, I’m very pleased with how diverse the cast is, from the main characters to the background. And it’s not something the characters ever need to point out on the job at the airport or in other settings, it’s just the makeup of the show. I agree, Candice, that feels authentic to all the different folks you’ll see at the airport. — Njera

Here’s What Doesn’t

The writing could be a little more bold. I think that’s what I’m looking for. — Candice

One thing I was torn about: I wish Mel’s romantic plotline throughout the season hadn’t hinged so much on her getting over a guy. I get that’s part of her personal growth, and going to Alex’s wedding is the impetus to get her on a plane for the first time. But too many shows and movies end up being at least in part about a female protagonist getting over a guy or wondering if she still has feelings for her ex, and I guess what I’m saying is that I want less of that in general. However, without spoiling, I’m hopeful for Season 2! — Marina

I understand the fatigue in that, Marina, but I didn’t mind it as much since there was a larger catalyst to her getting on the plane (nearly dying under a piece of furniture, choking on a piece of crab rangoon).

I did enjoy the surrealism and love to see creators of color play with that, but it did take a bit to get used to in this show. At times, it was perfect, like Mel seeing herself in future scenarios. Other times, it felt a little forced, like when she was high walking around on prescription drugs. — Taryn

That’s true, Taryn! — Marina

I agree with both of you. I do think that’s how a lot of these shows with female protagonists pigeonhole themselves plotwise, Marina, but I think Mel and Alex’s romance helped lay the foundation so we understand why Mel is the way she is, to your point, Taryn. If this same formula shows up in Season 2, though, I will be a bit disappointed that it’s not growing.

Also, I’m glad you mentioned the surrealism, Taryn, because it made me cringe a few times throughout the show. Those “dream” scenarios — that one sequence in Episode 2 when people are pop-locking on Mel’s street and in the airport took me out — seemed unnecessary to me because I just didn’t understand what they were doing for the plot. Less of those next season, please. — Njera

What We’re Hoping For Next Season

I’d say just for the lead character to be more complicated and messy and sexual. I want to see her story actually progress, not just for it to be more of the same. — Candice

Agree! I’m very much hoping for some more sex in a Season 2. I’d love to see Mel go on a bunch of dates — in whichever city she lands. — Erin

Plotwise, I’m very curious to see what route the season takes. Without spoiling the ending of Season 1, the show throws a lot into the final episode, giving itself a lot of options for Mel’s arc in Season 2. — Marina

After this season, we deserve to see single Mel navigate the treacherous New York dating scene! More sex, more mess and more letting loose because that’s when the show really reins me in. I’m also curious to see what the through line will be next season since most of Season 1 hinged on Melissa and Alex’s will-they-won’t-they story. If the show can successfully switch focus without ditching any of the core cast, I think it’ll be able to make a name for itself. — Njera 

More sex times four! We’re all aligned there. I want to see Mel really start to feel herself and show us more of the roller-coaster ride it is to step into a new era. The stakes should be higher as she embarks on this new journey. — Taryn

“How to Die Alone” streams new episodes Fridays on Hulu.

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