In Good on Paper, everyone notices that Dennis (Ryan Hansen, expertly maneuvering the character’s initially harmless uncomfortable and knowledgeable manner into something full-blown narcissistically entitled once the fractures are uncovered) is off. The exception is Iliza Shlesinger’s Andrea, a 34-year-old (often mistaken for 35 in an amusing running gag) moderately successful standup comedian struggling to break into Hollywood (the comedian also writes the script here, which also appears to be an adaptation of events in her life and a cinematic interpretation of the standup routine that followed). Dennis appears to be a good guy on paper; he’s well-dressed and knowledgeable.
The viewer and characters surrounding Andrea, such as her exuberant and well-intentioned outrageous best friend Margot, can see the red signals (Margaret Cho). As a result, it can be a little disheartening to see Andrea temper her skepticism whenever a suspicious situation emerges. Normally, a dynamic like that would lower engagement (no one likes or wants to root for characters who make bad decisions), but Good on Paper (which is actually directed by GLOW talent Kimmy Gatewood, who handles this tricky mix of tones competently) recognizes that it needs to delve into why such an independent, confident, and smart woman would drastically lower her guard and believe the moss. IMDB