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The modulation from light comedy into more layered dramatic territory is deftly handled both Bernard and Breen play the shadings of their characters’ clashing positions with humanizing insights that temper their more self-serving behavior. She feels even more excluded and hurt when he starts seeing a guy he met at a gay dads’ support group (Justin Crowley). Milo is stubbornly blind to the signals, leveraging her pregnancy for friendship benefits, almost to stalker levels Roger is borderline harsh in reminding her that after waiting so long to be a father, it’s something he needs to do alone, at least for now. It’s a testament to Ingari’s non-judgmental fondness for her characters that she never glosses over the flaws of either Milo or Roger. This raises red flags with Noor and causes a rift in that friendship. He’s increasingly clear about drawing boundaries, both personally and legally, asking her to sign a contract giving him exclusive custody as the genetic father. She sees herself in some nebulous role “like an aunt or a nondenominational godparent” to the child she’s carrying, while that was never part of the agreement for Roger. Most of the well-drawn conflict stems from Milo’s efforts, once the home insemination proves successful, to insinuate herself into Roger’s life, at the expense of her developing romance with Cameron. Ingari and Bernard negotiate a tricky balance between portraying Milo as a flake, plunging headfirst into a situation without anticipating the consequences, and as a vulnerable woman grasping for substance in a life that suddenly looks empty as her friends branch off into committed relationships. He takes the news on board, even if he seems unconvinced by the hunger for intense experience that’s supposedly driving her. Cameron learns about her intentions just as the sex is heating up on their first date. “It’s never a decision with you, it’s always just an impulse,” she tells Milo. Initially perplexed, George becomes a swift supporter, or an enabler according to skeptical lawyer Noor, who is vocally opposed. Hilary Duff's 'Younger' Character Is Getting a Spinoff | THR News Even at its busiest, the store’s staff-to-customer ratio is four-to-one. Not long after, she meets flirty musician Cameron (Ade Otukoya) at String Theory, the Brooklyn guitar shop where she works with three deadpan Australians (Alexander Hodge, Sean Rogers and Nicholas Hiatt) who specialize in cute banter.
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When he gets stood up and she gets abandoned by George at the Phoenix (great to see this mainstay of the East Village gay bar scene playing itself), Roger and Milo instantly click. The first is with 52-year-old Roger (Patrick Breen), a gay man who runs a drag bar, where he performs under the stage name Angela Merkin. The early scenes have the overwritten feel of sitcom dialogue - albeit decent sitcom dialogue - and Ingari gives Milo not one but two meet-cutes.
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Berry), whom Milo dismisses as his “recurring Tinder date.” Writer-director Ingari clearly is on Milo’s team but she doesn’t balk at depicting her self-centered view of these changes in her social circle.
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Milo (Bernard) is a 20-something, straight New Yorker who starts quietly panicking at the prospect of her queer best friends drifting away - pregnant lawyer Noor (Ava Eisenson) into her marriage to humorless wife KJ (Jess Stark) and impending motherhood roommate George (Robin de Jesus) into a promising relationship with Teddy (Michael J.