Are We Good (2025) [Film review]

Are We Good? might be the most brutally honest portrait of grief ever committed to a documentary format, featuring Marc Maron processing the sudden loss of his partner, filmmaker Lynn Shelton, while simultaneously ending 16 years of his beloved WTF podcast. Director Steven Feinartz’s Are We Good? arrives on VOD November 14, 2025, presenting itself as something far more complex than standard celebrity documentary fare. This isn’t a victory lap celebrating Maron’s career achievements or a conventional biography tracing a comedian’s rise through the entertainment industry. Instead, Are We Good? is an intimate examination of how one person navigates the impossibility of grief while continuing to work, to joke, to pretend everything is functioning when fundamentally nothing feels functional anymore.

I’ve watched plenty of documentaries about comedians and artists, and most follow comfortable templates: childhood tragedy leading to comedy career, struggles in the business, triumphant breakthrough, current status. Are We Good? completely rejects that comfortable structure. Instead, Steven Feinartz’s documentary begins exactly where you’d think it should be ending—at the moment when Lynn Shelton, an Emmy-nominated director and Marc’s partner of years, collapsed at their home during the early days of COVID lockdown. What emerges is a film about the specific ache of continuing to function as a public person when everything inside has fundamentally broken.

I approached Are We Good? with genuine uncertainty about what to expect. I knew the basic premise: grief, comedy, the end of a podcast that had become something resembling a national institution. What I didn’t anticipate was how deeply Are We Good? would commit to authentic emotional documentation, how completely the film would refuse to soften its subject’s pain for audience comfort, and how the specific intimacy of watching Marc Maron struggle would resonate far beyond anyone particularly invested in his career trajectory.

The Death That Anchors Everything (Or: How a Documentary Becomes Something Much Heavier)

Are We Good? begins at the breaking point. In 2020, during the early bewilderment of COVID lockdown, Marc and Lynn were managing isolation together like everyone else. Lynn Shelton had been a presence in the entertainment industry for years, directing everything from television episodes of prestige dramas to indie films like Sword of Trust, which also starred Marc himself. Their partnership extended into creative collaboration; they understood each other’s work on a level that transcended typical romantic partnership. They were collaborators, partners, and the kind of couple who seemed to genuinely enjoy spending time together—a rarity worth noting.

Then Shelton collapsed. Are We Good? doesn’t linger on the clinical details, but the film acknowledges what appears to have been a death that came with devastating swiftness. Shelton had undiagnosed acute myeloid leukemia, blood cancer with no presenting symptoms. She was admitted to the hospital and died just days later. She was 54 years old. Marc was 56 years old. They didn’t have retirement plans to execute or a mutual bucket list to complete. They had a life together that was simply cut short by the kind of random cruelty that the universe occasionally demonstrates.

What makes Are We Good? genuinely affecting is how thoroughly it refuses to make this tragedy comfortable. There’s no narrative redemption arc, no “he learned to live again” recovery story that wraps everything in a sentimental bow. Instead, what Feinartz documents is how someone actually processes this kind of loss across years, how grief doesn’t disappear but instead becomes a permanent weight you carry through daily existence.

Marc appears throughout Are We Good? in segments filmed across multiple years, and the cumulative effect demonstrates that grief operates on its own timeline, indifferent to narrative structure or audience expectations. Early segments show a Marc that feels raw and exposed in ways that celebrity rarely allows. Later segments show a Marc who’s learned to function, who’s returned to stand-up after years away from live performance, who’s attempting to maintain his podcast while processing what Shelton’s absence means.

The Comedy as Survival Strategy (Or: When Making People Laugh Becomes Work)

One of the most compelling aspects of Are We Good? involves watching Marc deliberately, consciously use comedy as a mechanism for emotional processing. Throughout the documentary, Marc appears directly to the camera questioning whether this is appropriate—whether using Lynn’s death as material for comedy constitutes a kind of betrayal or dishonoring her memory. Are We Good? presents this moral questioning without providing easy answers, which is exactly what makes the documentary sophisticated enough to demand serious attention.

The segments showing Marc returning to stand-up after years away from live performance capture something genuinely important about the relationship between comedians and their craft. Marc describes the nervous energy of getting back on stage, and we watch a performer clearly struggling with the mechanics of comedy after an extended absence. But more importantly, we watch him deploying humor as a survival mechanism, as a way of translating grief into something shareable with audiences. Whether that’s healthy or whether it represents a kind of emotional compartmentalization remains deliberately ambiguous in Are We Good?

The documentary includes appearances from fellow comedians who understand something about processing loss through performance. Patton Oswalt appears in a genuinely moving segment where he and Marc discuss the experience of losing a spouse, of navigating the specific isolation that comes from grief in a world that expects you to continue functioning normally. John Mulaney, Nate Bargatze, David Cross, and others contribute perspectives on their own understanding of loss, failure, and the precarious emotional balance that comedians maintain.

The presence of these other comedians works beautifully in Are We Good? because it suggests that what Marc is experiencing isn’t unique, even as it feels entirely singular. The documentary acknowledges that loss, grief, and the struggle to maintain professional functionality are shared human experiences, even if no two people process them identically.

The WTF Podcast: Sixteen Years of Intimate Conversation

Are We Good? provides essential context by examining the significance of the WTF podcast, which launched in 2009 at a moment when nobody—including Marc—believed it would sustain itself. The podcast became one of the most streamed and longest-running podcasts of all time, accumulating 1,686 episodes across 16 years. The podcast functioned as something far more intimate than typical celebrity interview vehicles because Marc conducted WTF from his home, essentially inviting guests directly into his personal space.

What Are We Good? emphasizes is how significant this intimacy became. Guests on WTF didn’t arrive for quick promotional appearances designed to advertise upcoming projects. Instead, they appeared in Marc’s garage studio for extended conversations that frequently became surprisingly deep explorations of personal struggle, addiction, recovery, divorce, medical crisis, and all the messy emotional content that celebrities usually keep carefully compartmentalized.

The documentary includes archive footage featuring some of WTF’s most significant guests. Robin Williams appears in clips that now carry different weight given his own struggle with depression and suicide. Peter Dinklage, Mandy Moore, and many others contributed to creating a podcast ecosystem where vulnerability felt possible. The final episode of WTF aired October 13, 2025, and featured President Barack Obama as the closing guest—a perfect symmetry for a show that had become genuinely significant in contemporary media culture.

The decision to end WTF coincided with Are We Good?‘s theatrical release, suggesting that Marc was using the documentary’s arrival as a natural endpoint for this phase of his career. The timing feels intentional—the podcast ending, the documentary arriving, Marc explicitly taking time to figure out what comes next. Are We Good? captures that moment of profound transition, where one significant chapter of someone’s life closes while the next remains undefined.

Personal History: Before Lynn, After Lynn, And The Specific Weight of That Timeline

Are We Good? contextualizes Lynn’s death by examining Marc’s life leading up to that moment. The documentary traces his journey from college through early career struggles, documenting his work in stand-up comedy, his appearances in television and film, and his emergence as one of the earliest and most influential podcast pioneers. Director Feinartz includes Marc discussing his early addiction to cocaine, his sobriety since 1999, his two previous marriages, and the specific emotional baggage accumulated across years of work in entertainment.

What strikes me about Are We Good? is how thoroughly it presents Marc’s life not as a linear success narrative but as a series of failures, recoveries, and ongoing psychological negotiations. He wasn’t a child star. He didn’t breakthrough on television. He struggled for years in stand-up, built an unconventional career, and only later found something resembling stability through podcasting. That context matters enormously for understanding why Lynn’s death hits so hard in Are We Good?—by the time she collapsed, Marc had finally arrived at something resembling peace and partnership, and that peace was suddenly, catastrophically ended.

The documentary includes segments where Marc discusses his father, his complicated relationship with his family, and the ongoing work of maintaining emotional stability after decades of struggle. These segments aren’t incidental biographical details; they’re essential context for understanding how Marc approaches grief. Someone who’s spent years in recovery, therapy, and emotional work has a different framework for processing loss than someone approaching it for the first time.

Lynn appears in the documentary through archive footage, primarily from her previous appearance on the WTF podcast back in 2015. Watching her speak, laugh, and discuss her own work provides essential perspective on who she was beyond just being Marc’s tragic loss. Are We Good? includes a quote from Lynn’s journal: “Marc had to learn to love himself before he could love me.” That specific observation reveals something important about their partnership—both were people who’d worked through significant emotional challenges before finding each other.

The Home As Location and Character (Or: How Architecture Becomes Emotional Landscape)

Much of Are We Good? was filmed in Marc’s home, the physical space where he recorded WTF and where he and Lynn built their life together. The documentary captures the home with appropriate attention to how physical spaces hold emotional weight after significant loss. Marc’s home contains Lynn’s things still arranged as they were when she was alive; the documentary presents this not as morbid hoarding but as a natural response to sudden, catastrophic loss.

The specific geography of the home becomes important in Are We Good?. There’s the garage where Marc recorded thousands of WTF episodes, a space that’s simultaneously professional studio and intimate personal environment. There are the rooms where Marc lived with Lynn, now existing as spaces holding memory and absence. The documentary uses these locations with cinematic awareness, recognizing that grief operates through physical space as much as through emotional processing.

Marc mentions loving cats, and Are We Good? captures the presence of these animals in his home. There’s something genuinely affecting about watching Marc interact with these pets, recognizing that they provide uncomplicated companionship and present-moment focus in ways that humans, with all their complexity and absence, sometimes cannot.

The Sixtieth Birthday Party (Or: How You Celebrate When You’ve Lost Everything Important)

Toward the end of Are We Good?, Feinartz documents Marc’s 60th birthday party—a gathering that becomes a crystallizing moment for the documentary’s larger themes. A 60th birthday should be celebratory, a recognition of surviving six decades and presumably having access to some wisdom or peace that the younger self couldn’t conceive. But Marc’s 60th birthday carries the weight of Lynn’s death and the specific grief that marks this particular milestone as fundamentally different from what he might have imagined.

The birthday party sequences in Are We Good? capture something genuinely moving about how community responds to individual grief. Friends gather, there’s laughter, there’s the fundamental human attempt to mark time and celebrate survival even when that survival feels complicated and compromised. The documentary doesn’t suggest that this party fixes anything or provides closure; instead, it documents how people continue living even when life has become harder and more complicated than they ever anticipated.

Marc’s discussion of his “dad jokes”—jokes specifically for his father who was in the audience at one of his shows—provides unexpected tenderness in Are We Good?. These aren’t jokes designed for any audience beyond his father; they’re deeply personal references designed to generate a specific kind of recognition and connection. In a documentary about loss and communication, these moments reveal how much of our emotional work happens in contexts far smaller and more intimate than public performance.

VOD Technical Quality: How Documentary Looks When Optimized for Home Viewing

Are We Good? arrives on VOD November 14, 2025, and the documentary’s technical specifications reflect careful attention to how home viewers will experience the material. The documentary was shot in a 16:9 aspect ratio using modern digital cinematography, which means the native resolution captures genuine detail in intimate spaces. Running time of 97 minutes makes Are We Good? efficient and focused, avoiding unnecessary padding while maintaining sufficient time for emotional development.

For viewers experiencing Are We Good? through VOD platforms, the documentary’s reliance on conversation and intimate moments means that audio quality becomes particularly important. The various VOD platforms carrying Are We Good? will likely employ standard stereo or 5.1 surround configurations, which provides adequate clarity for dialogue-heavy documentary material. Unlike narrative films with elaborate sound design, Are We Good? primarily requires clean, intelligible audio capture that preserves the specificity of individual voices and emotional modulation.

The documentary’s visual approach involves a mix of direct-to-camera segments featuring Marc, archive footage from WTF episodes, interview material with supporting figures, and personal documentary footage. This variety in visual material means that technical presentation quality varies somewhat throughout Are We Good?, which is entirely appropriate for documentary practice. The intent isn’t to achieve uniform cinematographic beauty but to capture authentic emotional content across different temporal contexts and production circumstances.

When experienced through high-quality VOD platforms like Apple TV, Amazon Prime Video, or MUBI (all reportedly carrying Are We Good?), the documentary benefits from optimized streaming bitrates that preserve detail without excessive compression. For viewers with reliable internet connections supporting higher bitrate streams, Are We Good? will present with clarity that honors both the intimate home-video segments and the archive footage from WTF episodes.

Color grading in Are We Good? employs relatively naturalistic palettes that reflect authentic documentary practice rather than stylized cinematography. The interiors of Marc’s home appear with warm, lived-in quality; archive footage maintains whatever color characteristics existed at original capture; the aesthetic overall prioritizes authenticity over visual manipulation. This approach is entirely appropriate for documentary material where emotional truth matters far more than technical virtuosity.

Context: Lynn Shelton’s Career and Significance

Understanding Are We Good? requires recognizing who Lynn Shelton was as an artist and cultural figure. Are We Good? includes segments discussing her work directing episodes of prestige television including Little Fires Everywhere and The Morning Show. She directed the indie film Sword of Trust in 2019, which featured Marc in a leading role, demonstrating how their professional and romantic lives had become genuinely intertwined.

Shelton was an Emmy-nominated director, meaning she’d achieved genuine recognition for her television work across the industry. She was someone with her own significant career trajectory, not simply defined as “Marc Maron’s partner.” The tragedy of her death involves the loss of a talented artist still in her prime, someone who had decades of creative work ahead of her. Are We Good? acknowledges this loss while documenting how her death reverberates through Marc’s world specifically.

The Documentary Festival Circuit and Critical Recognition

Are We Good? premiered at SXSW 2025, one of the most significant documentary festivals in North America. The film was also selected for the 2025 Tribeca Film Festival, another major venue for documentary work. This dual selection suggests that programmers and critics recognized something genuinely significant in Are We Good? beyond just the celebrity profile of its subject. The documentary festival circuit voting with their programming choices typically reflects confidence that a film has something meaningful to contribute to cultural conversation.

For viewers unfamiliar with how documentary festivals function, selection itself carries significance. Festivals program hundreds of submissions but select only a fraction for inclusion; the presence of Are We Good? at major festivals suggests that curatorial professionals recognized the film’s quality and relevance. This doesn’t guarantee that everyone will find the documentary equally powerful, but it does suggest that professional critical infrastructure has validated the material as worthy of serious attention.

Comparing Are We Good? To Other Grief Documentaries

If you’ve found yourself interested in documentaries examining loss and personal struggle, Are We Good? fits into a small but significant category of films that approach grief with emotional honesty rather than sentimental reconstruction. For comparative perspective, you might explore other documentary work examining similar territory. The Toys That Made Us genre approaches nostalgia with professional distance, while films like The Last Waltz (technically narrative rather than pure documentary, but relevant for its interest in life transitions and endings) explore different approaches to marking significant moments in personal and professional life.

The documentary form allows Are We Good? to do something that narrative film typically cannot: it preserves the lived, messy reality of grief without requiring dramatic structure or narrative resolution. This is both the film’s greatest strength and potentially its limitation for viewers seeking traditional documentary satisfactions. Are We Good? asks viewers to sit with genuine loss and ongoing struggle rather than providing the comfort of resolved narrative.

The WTF Podcast Legacy and What It Meant in Media Culture

To fully understand Are We Good?, you need to recognize what the WTF podcast represented in the broader ecosystem of media and entertainment. When Marc launched WTF in 2009, podcasting remained an emerging technology with uncertain future prospects. Conventional wisdom suggested that audiences wouldn’t listen to hours of conversation between strangers; the format seemed doomed to obscurity or niche appeal.

WTF proved conventional wisdom entirely wrong. The podcast became one of the most significant cultural forces of the past 15 years, influencing how celebrities approach interviews, how audiences understand the people who entertain them, and how intimate conversation can function as genuinely valuable content. By 2015, when Barack Obama appeared on WTF, podcasting had become mainstream enough that a sitting U.S. President could justify appearing in Marc’s garage to discuss his presidency and his plans for life after leaving office.

Are We Good? captures the significance of WTF not through grand claims but through documentation of its actual function. What the podcast did was create space for vulnerability at a moment when celebrity culture typically demanded precisely the opposite. The documentary presents archive clips of Robin Williams, Peter Dinklage, and others discussing genuine personal struggles, demonstrating how WTF functioned as something resembling therapy or genuine human conversation rather than promotional vehicle.

Why Are We Good? Matters Beyond Marc Maron Fandom

Here’s the most important thing about Are We Good?: you don’t need to be a devoted Marc Maron fan to find value in this documentary. Yes, if you’ve listened to years of WTF, if you’ve followed Marc’s career across television, comedy, and podcasting, Are We Good? will provide specific recognition and perspective that longtime audiences will appreciate. But the documentary transcends individual fandom because it addresses universal themes—grief, loss, the struggle to maintain professional functionality when everything personal has collapsed, the attempt to create meaning through work and community.

Are We Good? also functions as documentary evidence of a specific historical moment. The film captures the end of an era—not just the conclusion of WTF, but the end of a particular approach to celebrity, to authenticity, to how artists present themselves to public audiences. The podcast began in an era when celebrity narrative was still carefully controlled; by the time it ended, celebrity culture had transformed entirely through social media and changed audience expectations.

The documentary also provides valuable perspective on mental health, addiction recovery, and ongoing psychological work. Marc’s willingness to discuss his cocaine use in the 1980s, his sobriety since 1999, and his ongoing engagement with therapy and personal growth provides important representation for how recovery actually functions—not as a single moment of breakthrough, but as decades of ongoing effort.

Special Features and Supplementary Materials (What’s Included With Your VOD Purchase)

VOD releases of documentaries typically don’t include the elaborate supplementary materials common to theatrical Blu-ray releases, but information about what accompanies Are We Good? on various platforms is worth noting. The documentary itself constitutes the primary content, though some VOD platforms may include trailers, featurettes, or production notes accessible through their respective interfaces.

For viewers wanting additional context about the film’s creation, Rotten Tomatoes and IMDB provide reviews and production information that supplement the documentary itself. Various interviews with Marc Maron regarding the film’s creation and his motivations for participating in the documentary are available through various media outlets and could provide valuable context for understanding Are We Good? more deeply.

Theatrical vs. VOD Experience: Does the Format Matter?

Are We Good? received theatrical release beginning October 3, 2025, in New York and Los Angeles, with national theatrical expansion on October 5 and 8. The VOD release arriving November 14, 2025, comes following the theatrical window, allowing viewers who wanted cinematic experience to access the film in that format first.

For most viewers, the VOD format will be entirely appropriate for experiencing Are We Good?. This is dialogue and interview-driven documentary material without elaborate visual effects or cinematography that demands large-screen presentation. The intimate subject matter—conversations in Marc’s home, interviews with friends and colleagues—may actually feel more appropriate on home screens where the viewer is physically closer to the material.

Theatrical presentation of Are We Good? would provide certain advantages: larger image allows viewers to read subtle facial expressions and emotional nuance more clearly; theater sound systems preserve audio clarity and dynamics that home systems may not fully reproduce; the communal viewing experience adds something intangible but genuinely valuable to documentary experience. However, none of these advantages are strictly necessary for appreciating what Are We Good? accomplishes as a film.

Personal Response: What Are We Good? Asks and What It Leaves Unresolved

The title itself—”Are We Good?”—represents a genuine question rather than rhetorical assertion. Throughout Are We Good?, this question remains fundamentally unanswered. Is Marc good? Is it good to continue working after profound loss? Is using comedy as a mechanism for processing grief good, or is it a kind of evasion? Is the WTF podcast’s end good—closure and transition, or loss of something significant? Are We Good? refuses to provide simple answers to any of these questions.

What’s genuinely affecting about Are We Good? is that it documents the ongoing work of remaining human after loss. It’s not inspiring in conventional sense—I didn’t finish the documentary feeling uplifted or believing that everything would work out. Instead, I finished it feeling a kind of deep empathy for the genuine difficulty of continuing to exist when someone central to your existence has been suddenly removed.

For viewers approaching Are We Good?, I’d recommend understanding that this documentary operates as witness rather than therapy. It documents Marc’s grief journey without suggesting that his path is correct or that his methods are universally applicable. What the film does is present human struggle with sufficient honesty that viewers struggling with their own losses might find validation in watching someone else navigate similar terrain.

Historical Context: Media Deaths and How We Remember Them

Lynn Shelton’s death is part of a larger pattern of significant media figures dying in the early pandemic years. Are We Good? captures not just personal loss but a moment of collective loss and uncertainty, when so many people we recognized from television and film died suddenly, often unexpectedly. The documentary suggests something important about how these deaths ripple through connected communities, how loss isn’t simply private but carries public significance.

Where to Watch Are We Good? on November 14, 2025

Are We Good? arrives on VOD November 14, 2025, available for purchase or rental through multiple platforms. Apple TV, Amazon Prime Video, and MUBI are among the platforms carrying the documentary. The 97-minute runtime means you can experience the entire documentary in a single sitting without excessive time commitment, though the emotional weight of the material suggests taking appropriate time to process what you’ve witnessed.

VOD platforms will allow you to either purchase Are We Good? for permanent access to your account or to rent it for a limited viewing window (typically 24-48 hours depending on platform policies). For documentary material of this personal and intimate nature, purchasing provides better value than renting, allowing you to revisit the film as you process its themes and reflect on its significance.

The film is also reportedly becoming available on streaming services, though specific SVOD (subscription video on demand) platform availability remains to be announced as of this writing. Check availability through your preferred streaming services for the most current information about where Are We Good? might eventually find permanent homes.

Recommended Similar Documentaries

If Are We Good? resonates with you, several other documentary films explore similar territory regarding personal loss, media figures, and the intersection of public and private life. Touching the Void examines survival and personal struggle through a different lens. Montage of Heck explores loss and legacy through the life of Kurt Cobain. Three Days in Yuma and Diego Maradona provide different approaches to documenting complicated lives and legacies.

For viewers interested in comedy-focused documentaries specifically, Comedian provides earlier perspective on stand-up comedy as work and identity, while various documentary projects about podcasting and media culture offer complementary perspectives to what Are We Good? explores.

Understanding Comedy Documentary as Genre

Director Steven Feinartz has significant experience with comedy special direction, having worked with comedians including Bill Burr, Eddie Pepitone, and Steve Byrne on various projects. His background in capturing comedic performance translates to Are We Good?, where he demonstrates capability to film both comedy segments and deeply intimate personal moments with equal skill.

What distinguishes Are We Good? within Feinartz’s filmography is its fundamental subject matter. This isn’t a special designed to capture comedic performance for audiences; this is documentary designed to examine how one person functions when comedy becomes insufficient for processing loss. That shift in purpose represents a significant directorial departure from Feinartz’s previous work.

Final Verdict: Are We Good? Deserves Your Attention

Are We Good? stands as genuinely significant documentary work that addresses universal human experiences through the specific lens of one person’s struggle with loss. Marc Maron’s willingness to participate in a film this personal and this emotionally demanding deserves recognition; Steven Feinartz’s direction demonstrates remarkable sensitivity in capturing intimate material without sentimentality.

The documentary doesn’t provide easy answers to its central question. What it does is document the ongoing work of remaining functional, creative, and connected after experiencing profound loss. For viewers who’ve navigated their own grief, Are We Good? offers validation and recognition. For viewers approaching loss as abstract concept, the documentary provides visceral understanding of what grief actually feels and functions like.

The timing of Are We Good?‘s arrival—coinciding with the end of 16 years of WTF podcast—suggests that Marc Maron recognized something important about moments of transition and closure. The documentary captures that moment when one significant chapter ends and the next remains undefined. For anyone interested in contemporary media culture, personal resilience, or documentary filmmaking, Are We Good? represents work genuinely worth experiencing.

Technical Specifications (VOD Release)

• Format: Digital VOD (purchase/rental)
• Runtime: 97 minutes
• Aspect Ratio: 16:9
• Director: Steven Feinartz
• Subject: Marc Maron
• Genre: Documentary, Biography, Comedy
• Rating: Not Rated
• Studio/Distributor: Utopia Distribution
• VOD Release Date: November 14, 2025
• SVOD Availability: TBA
• Platforms: Apple TV, Amazon Prime Video, MUBI, and others
• Festival Selections: 2025 SXSW Film & TV Festival, 2025 Tribeca Film Festival
• Theatrical Release: October 3-8, 2025
• Featured Voices: Marc Maron, Nate Bargatze, W. Kamau Bell, David Cross, Gary Gulman, Patton Oswalt, John Mulaney, and archive appearances from various WTF podcast guests
• Primary Subject: Grief following the death of partner Lynn Shelton; 16-year WTF podcast legacy; return to stand-up comedy; life at 60

Make Your November 14 Mark: Are We Good? Arrives on VOD

November 14, 2025, marks the arrival of one of the year’s most genuinely significant documentary releases. Are We Good? offers something increasingly rare in contemporary documentary practice: an unflinching examination of personal grief presented without sentimentality or redemptive narrative structure. For those seeking documentary material that respects audience intelligence and emotional sophistication, Are We Good? represents essential viewing.

Whether you’ve been a devoted WTF listener across 16 years or you’re approaching Marc Maron’s work for the first time, Are We Good? functions as both personal portrait and cultural document. Steven Feinartz has created something genuinely significant in capturing how one person continues to function and create in the aftermath of devastating loss. The documentary doesn’t answer its titular question with easy reassurance; instead, it presents the actual, ongoing work of remaining human after everything changes.