Cory Stillman
Natasha Rothwell’s How to Die Alone is a deeply personal show. The series follows Melissa (Rothwell), a broke JFK airport employee who is inspired to dream and live life again after a near-death experience. As one might expect from Rothwell, the show is also quite funny, and much of that careful blend can be attributed to editor Christine Armstrong.
“It was all about finding that sweet spot where humor lightens the mood without taking away from the emotional depth,” Armstrong explains.
Because the show follows Melissa’s transformation into a much more positive and optimistic person, Armstrong and the other editors on How to Die Alone wanted to convey that arc through the show’s color palette. This endeavor is particularly evident in the finale episode, where Melissa busts out a striking rendition of Nina Simone’s “Feeling Good.”
“As the song kicks in, I wanted the visuals to shift,” Armstrong says. “Moving from the muted, desaturated tones of her low points to a brighter, more vivid world that mirrored her emotional breakthrough.”
Armstrong’s inspiration for that stunning sequence? The Wizard of Oz, with its iconic transition from black-and-white to color. Like Dorothy, Melissa is nearly stepping into a new world by tapping into the confidence that comes with her performance of the famous tune.
“The idea was to give the audience a sense of her enlightenment, almost like she’s stepping into a new reality — one where her darkest moments are starting to give way to a sense of hope and possibility,” Armstrong says.
Check out our full conversation with Armstrong below. We discuss the finale of How to Die Alone in even greater detail, as well as her deep appreciation for Natasha Rothwell’s nuanced performance in the show, streaming now on Hulu.
How to Die Alone is both comedic and deeply introspective. How did you balance humor with the emotional weight in your editing choices?
In How to Die Alone, it was all about finding that sweet spot where humor lightens the mood without taking away from the emotional depth, and the ending needed to leave room for reflection, whether that meant ending on a heartfelt moment or a small, well-timed joke that still felt true to the character’s journey.
The finale features Melissa’s rendition of “Feeling Good” by Nina Simone. Can you walk us through your process for editing this pivotal moment?
The finale’s rendition of “Feeling Good” was such a pivotal moment for Melissa, and the editing process for that scene was about more than just cutting the music — it was about giving the audience a sense of her transformation. As Melissa sings, it’s not just a performance; it’s the culmination of her journey from the low points we’ve seen her struggle with throughout the season.
In the editing room, I wanted to visually reflect this shift from darkness to light. One idea we explored was drawing inspiration from The Wizard of Oz — specifically, the iconic transition from the black-and-white world to color. In the earlier parts of the season, Melissa is stuck in a kind of emotional monotony, weighed down by her struggles and self-doubt. So, as the song kicks in, I wanted the visuals to shift, moving from the muted, desaturated tones of her low points to a brighter, more vivid world that mirrored her emotional breakthrough.
The idea was to give the audience a sense of her enlightenment, almost like she’s stepping into a new reality — one where her darkest moments are starting to give way to a sense of hope and possibility. I revisited the key scenes from earlier in the season, like her moments of isolation or frustration, and used those as the backdrop for her transformation, allowing us to see how far she’s come. The change from black and white to color wasn’t just a visual choice; it was a symbolic one, showing her emotional rebirth as she sings, and marking that turning point in her journey.
Ultimately, “Feeling Good” felt like the perfect anthem for that moment, and the editing helped elevate it from just a performance to a reflection of Melissa embracing her new, empowered self. It was a delicate balance of music, visuals, and emotional resonance — and one of the most rewarding moments to work on.
How much collaboration is there between you and the showrunner, or other creatives, during the editing process?
The editing process was incredibly collaborative, and I loved working closely with Natasha and Vera — it was such a fun and creative experience where we all bounced ideas off each other to make sure the tone, pacing, and emotional beats of the show really came to life in the best way possible. Also the collaboration between my fellow editors and assistant editor was so strong deciding templates for our temp VFX and as well bouncing back and forth
Natasha Rothwell’s work is celebrated for its emotional resonance. How did you approach editing scenes to amplify her performance?
Editing Natasha Rothwell’s scenes was a real joy because her performance is so full of depth and nuance. My approach was to really honor the layers she brings to a character — she has this incredible ability to convey vulnerability, humor, and strength all in one moment. The key to amplifying her performance was giving her the space to breathe, especially in the quieter, more emotional moments.
I’d often start by focusing on the rhythm of her delivery, making sure the timing allowed her subtle expressions and pauses to land. Natasha’s comedy is sharp, but it’s also deeply grounded in emotion, so I worked to balance the moments of levity with the more introspective ones, letting her emotional journey unfold without rushing through it. Sometimes, a slight shift in pacing or holding on a close-up would allow her vulnerability to shine through, and that’s where the real emotional punch came from.
Editing can make or break a scene’s impact. Are there any moments from How to Die Alone where you felt your editing decisions significantly shaped the scene’s effectiveness?
One moment where I felt my editing decisions really shaped the scene’s impact was in the final confrontation between Mel and Alex in Episode 7. I made a conscious choice not to cut quickly between their lines or reactions, allowing the tension of their fight to breathe and unfold in real time. By holding on their faces and letting the silence linger, it felt like we were right there with them, watching the discomfort and emotional weight of the argument. This decision gave the scene a raw, almost uncomfortable intimacy, where the stillness made their words hit harder and the emotional stakes felt much more visceral. Rather than using quick cuts to heighten the drama, I let the silence speak for itself, which ultimately amplified the emotional resonance of the moment.
You’ve worked across a variety of genres, from sci-fi in Upload to comedy in Rutherford Falls. How do you adapt your editing style for different genres?
When editing across different genres, my approach really depends on understanding the heart of each story and adjusting the pacing, tone, and rhythm to match that. For example, with Upload, which blends sci-fi and comedy, I had to find a way to balance the technical and conceptual elements of the sci-fi world with the sharp, character-driven humor. The sci-fi moments required careful pacing to establish the world and its rules, especially with all the visual effects, while the comedy needed quick timing and a light touch. The challenge was switching gears between these worlds — making sure the humor was punchy without undercutting the sense of wonder in the tech-driven universe.
With a show like Rutherford Falls, the focus shifted more toward comedic timing and character interactions. The rhythm of comedy is key here — a lot of the humor came from the awkward pauses, reactions, and the natural flow between characters who are often misunderstanding or challenging each other. The editing had to let those moments breathe, holding on reactions and giving the characters space to shine in their awkwardness. Comedy often thrives on spontaneity, so in these scenes, I focused less on tight cuts and more on letting the actors’ timing do the work. Each genre requires its own balance of pace and mood, and as an editor, my job is to adjust the flow so it feels true to the genre — whether it’s the quick wit of comedy or the more immersive, world-building rhythm of sci-fi.
Earlier this year, you received a Black Reel Award nomination for Unprisoned. What does recognition like that mean to you?
Being nominated for a Black Reel Award for Unprisoned was honestly a humbling experience. It felt really meaningful to have my work recognized, especially on a project that I felt so connected to. Unprisoned had such a unique and heartfelt story, and knowing that it resonated with others in such a positive way was really rewarding. For me, the nomination wasn’t just about personal achievement — it was about being part of a larger effort to bring more diverse stories and voices into the spotlight. It reminded me of how important representation is, and it makes me even more excited to keep working on projects that can make a real impact.
Looking ahead, are there any dream projects or genres you’d love to explore in your career?
Looking ahead, I’d love to edit a musical and an action film, but more than anything, I just want to continue telling human stories that resonate deeply and reach people from all walks of life.
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