#thinking about what eric bogosian said about acting

[danielslaw]

ERIC BOGOSIAN AS DANIEL MOLLOY INTERVIEW WITH THE VAMPIRE SEASON 1 EPISODE 1

[cuntylouis]

It's an underdiscussed part of the show, maybe because it's so obvious, that ultimately this whole interview is happening because Daniel Molloy wanted to fuck that vampire. Like before the 1st season even started Eric Bogosian was already talking about Daniel feeling attracted to Louis, and that attraction is an essential part of their complicated history and relationship and is always underneath every other thought and feeling Daniel has about Louis.

Daniel's intellectual/journalistic interest in Louis is inseparable from his physical attraction to him. When they met in the 70s Daniel felt an instant pull towards Louis, and as he said he really wanted to interview him, but he was also quite obviously assuming they would sleep together. Decades later that pull is still so strong he's ready to throw everything else away to get some kind of closure. I think he's sort of embarrassed by his own emotions (especially when he seemingly hasn't come to terms with his sexuality) and that they still have so much power over him no matter how old and mature he is. He's so snarky and rude to Louis to protect himself, to hide his vulnerability and feel like he has some kind of control over the situation. It's something similar with Armand; whether Daniel and Armand have a history or not, Armand is an attractive, powerful man who managed to trick Daniel, so Daniel feels the need show that he's in control and that he's not afraid of or intrigued by Armand, even though he's both.

But this exterior started to crack at the same time Louis' own did. In the beginning Daniel tried to keep his distance (and he probably reminded himself 'these people serial killers' every time he found himself feeling sympathy towards vampires) but when Louis is now acting so vulnerable and strikingly human, doing things like openly crying when talking about his daughter and sincerely thanking Daniel for helping him, it's impossible for Daniel to not feel empathy for him. In the s2 premiere you can see he's genuinely sympathizing with Louis and not even always trying to hide it anymore. Although Daniel says he doesn't really care it's a blatant lie; he's personally invested in Louis' situation. He cares about finding out what's going on and he cares about Louis. He wants to solve this and he wants to help Louis. He still feels strongly attracted to him. Hell, he might even be a litte bit in love with him. Most people who meet Louis are.

In the first season Daniel often perceived Louis as his opponent, and in the s2 premiere he acts like Louis and Armand are both his opponents, but i think the situation will (based on what we've seen so far and promo/cast interviews) now probably pretty fast evolve into Daniel starting to think he and Louis are in the same team and Armand is their common enemy. We know Daniel is basically inserting himself between Louis and Armand's relationship and even the word love triangle has also been used. Armand and Daniel were famously a couple in the books and might end up together in the show too, but at least for now they're both focused on Louis. I wouldn't be surprised if Daniel starts to feel like he has to 'save' Louis from Armand - even though Louis probably doesn't want to be saved

[confirmeddead]

Lover, Will You Look At Me Now?: An Armand & Daniel Theory

Armand and Daniel were in a relationship in the book The Queen of the Damned and have been a fan favorite for decades. Many fans were excited to see how the show would adapt this companionship.

Armand makes several appearances throughout season 1 in disguise as the servant Rashid. He reveals his true identity in the season 1 finale.

A lot has been said on how the show will approach their companionship. It’s definitely up in the air with so many things having been changed regarding the two already!

Have we seen anything that has definitively hinted at them forming a companionship? I could talk about faulty memories, a possible purple shirt, or vermouth in Daniel’s cocktails; but is any of that concrete proof?

Let’s look at the unsaid- literally. The looks and stares between Armand and Daniel.

Throughout season 1, Daniel’s attention is consistently on Louis’s servant Rashid (Armand in disguise). We see the camera (Daniel’s eye) follow him constantly. Daniel is an investigative journalist but he’s taken a keen interest into the person serving his drinks.

Daniel does a lot of looking at Rashid. We know it’s his job to investigate, so it makes sense he analyzes everything and everyone. But often times he’s distracted by Rashid’s presence, even prior to having the San Francisco dream. Daniel looks at Armand so much throughout the show, but has anyone noticed how intimate some of these moments are?

Thank you to @mirrorhouse for the Magnolia screencap!

Rashid prayer, which is interrupted by Daniel.

Louis feeding on Rashid in front of Daniel. Staring at one another (and the act itself) is very… personal? Uncomfortable?

Look at the framing of the scene by the magnolia tree. It’s intimate, beautiful, and dare I say romantic!

Most times they’re alone, it feels like the viewer is almost intruding on something (or like Daniel is). Should he be talking to Rashid while he prays? Should he stare at him being fed on? Dare they speak alone while Louis is resting?

I realize they have to look at each other during an interview, but we can see these looks are there for a reason. I think they’re trying to tell us something.

It’s easy for us to look at these things, point, and say FLIRTING! But shipping stuff aside, real people in my life (who don’t read the books or follow socials) who have seen the show have talked to me about the flirting they’re seemingly doing.

Okay, let’s see what Eric Bogosian says regarding the looks:

“I’m looking at him. I’m trying to figure something out and they can show us that and they do show us that. And we do a lot of looking at each other. Like, I do a lot of listening to Jacob, but we do a lot of looking- checking out each other as this relationship continues to go through quite a lot of changes in the next-in all the episodes.”

(Source) 2:00 mark

Wait… checking out? Like checking someone out? What an interesting choice of words.

This is where my theory comes into play.

We all know Eric’s tendency to spoil things about the show, right?

I think that term, which is mostly exclusive to someone interested sexually/romantically, was in the script!

Making a note here to say only the Pilot and the season 2 finale scripts have been released.

Remember the photos I included of the constant moments of Daniel and Armand exchanging looks and eyes tracking each other?

What’s the likelihood it was written in the script (or at the very least directed by the episode directors and Rolin)?

Wait- there’s a quote on that as well!

(Source)

So it was happening in both seasons.

We’ve got our scene moments and the quotes from Eric and Assad. Was “checking out” literally Rolin’s or the scripts words? Was that what he was telling them even back in season 1?

Spoiler Eric strikes again.

I’ll end this off by saying this is all just for fun! We’re all having to wait through this hiatus together so I figured I’d keep up the discussions on my faves. In no way do I think this theory should or is correct- I’m just yapping and love discussing these characters! I’m totally OK being wrong 😅 but it’s all in good fun.

And my asks are open!

Sources otherwise not mentioned:

Title from “I Walked” by Sufjan Stevens

Screencaps take from here (x)

[nightcolorz]

my dad finished s1 of iwtv. Heres some thoughts of his lol

—he loves Daniel and thinks that Luke Brandon field as young Daniel is such perfect casting (he thinks he acts exactly like a young Eric Bogosian)

—Before the Armand reveal he said that he noticed Daniel was “obsessed and enamored” with rashid, and “wouldn’t stop staring at him” which he found interesting

—-He thought the scene where Claudia was helping Louis recover from his injuries in ep6 was “hilarious” and he was laughing the entire time. He said it reminded him of a sentimental training montage in a sports movie when the athlete gets injured

—-he thinks lestat is very feminine which he “really enjoys”

—-He says that he doesn’t feel bad for or sympathize with any of the characters because of how violently murderous they all are. He said he “likes to watch all of the characters but doesn’t like any of them as people”. The only character he sympathized with was Louis in the first episode but once he became a vampire he could only see him as evil. He likened his enjoyment of interview with the vampire to how someone would enjoy a freak show 💀

—he said he finds Daniel very relatable

—-he also said that daniel is a bad person who he thinks is much more malicious then he presents himself as

—-He said that he loved the domestic violence scene in episode 5 and it was probably his favorite scene in the show (😭??)

—he said he liked that lestat is a lot dumber then claudia

—-He skimmed some parts because he has Vasovagal syncope (so do I lol) and he didn’t wanna pass out from the blood, so he said he might’ve missed some stuff

—He hopes there are more 70s flashbacks in s2

—he loved the Armand reveal (when he told me about this he started quoting Daniel’s dialogue in that scene word for word in his enthusiasm)

I’m excited to see what he thinks of s2 😭 (if he doesn’t like Armand I’ll cut him out of my life)

[danielmolloyshole]

@ahubofreadersandmagicians:

Why would Daniel hate Marius? He’s already read the “forced prostitution” and “Marius de Romanus” folders from the Talamasca’s Armand file, we’ve seen them. His only response was to shame Armand for talking abt the Arun/Amadeo days and imply he was lying. Even knowing Armand was telling the truth. Daniel’s bad w/abuse victims generally and hates Armand. Sadly, I think he’ll be ok with Marius.

This got stupid long and also needs to broken into parts to try to minimize how all over the place I am so let's gooo. Friendly disclaimer that this is my opinion but I am literally trained in media analysis like this so I promise I am coming from a place of knowledge. I'm gonna start with my interpretation of Daniel's character and go from there.

RE; Daniel is bad with abuse victims

I'm assuming you are saying this because of how Daniel talks to Luis about his abuse. The way Daniel approaches this topic is, frankly, awful. Daniel is not good at it. However, he is not supportive of it. He calls Lestat out on how badly he was treating Luis, the racial dynamic (again, said in a really bad way but later we do see Lestat minimizing Luis's feelings about how he is treated as a black man so he wasn't wrong). I also think about the rent boy line, which to me was more directed as a snide remark at Luis and his assumption of what their relationship is. Not saying it wasn't also supposed to be a jab at Fake Rashid (by this point he is suspicious and annoyed and staring all the time and in general does not know what to make of him, which Daniel doesn't like), but Daniel was in active conversation with Luis and not Fake Rashid. Daniel is mean, this is not in contention. He is not a good person. But he does not ignore or get down with abuse and instead calls it out into the room, both explicitly and implied.

RE; Daniel's Past & Hating Armand

Now, what informs the fact that Daniel is such a bitch, especially when he is chasing the high of bringing out the truth? Working under the assumption of my previous post, Devil's Minion has happened. The evidence of such is, in my opinion, scattered throughout both seasons and would be a whole other post to detail. This, in my opinion, is supported by comments made by the actors and show runners that imply they have purposefully planted seeds. All I have to work with in terms of analysis right now is the book and these seeds and my last post stated that we are treating the Devil's Minion chapter as canon up until Daniel's turning, at which point Armand would have erased his memories. This implies that from 1973 until 1985, the ages of 20 and 35, Daniel's memories are incomplete. Imagine your most developmental years as an adult are now so full of holes that you wrote a memoir about how inconsistent your memory is. Your first love, your first heartbreak, the first time you debased yourself for someone's love, the first time you really fucked up with someone, countless mistakes now altered. Any self-actualization that would have made Daniel a better person is now incomplete. This includes the memory of Daniel fucking a girl with a bag on her head. It is a shameful memory, that's why Armand brings it out, but as a twenty year-old shitty kid from Modesto, Daniel might not have fully conceptualized how ashamed he is of it until it is used as weapon against him. Assuming the memories begin to return next season, either in partial or in full, this would mean that Daniel would suddenly have a much fuller context of his trauma and why he does what he does. Eric Bogosian mentioned in an interview that both he and Daniel have forgotten trauma and I do not believe San Francisco is the end of that trauma. A relationship as volatile as Armand and Daniel's, influenced by drugs and blood and danger, would hold just as much trauma if not more than the six days spent in that apartment. Bogosian went on to say that those traumas influence how someone acts and interacts without even being aware of it. I believe a lot of the development we're gonna see in Daniel is him reconciling the mean, tear-it-all-down journalist with the man he was at the height of his affair with Armand. We've already seen heightened emotion from his Paris memory (another tangent but I do not believe Alice is Armand but rather that this specific memory was altered. Daniel cares a lot less about the memory of Alice telling him she's pregnant so the inconsistency is odd).  Daniel is going to need character development moving forward. Does this mean he's going to stop being an asshole? No. He's still an asshole. I just think he'll be a different kind of asshole.

RE; Daniel Shaming Armand

I don't interpret that Arun/Amadeo line as shaming him, exactly. Asking where the lies start, implying the Arun dynamic was something of a sham (master when it's hot and convenient, etc), yeah. He's in the throes of bringing down the castle of lies, he's gotten his hit, he's basically high on exposing the truth. To me, especially given how he looks at Armand while he's on the floor, I don't think Daniel hates Armand. In book canon, it's said that he could only feel ravening desire and it is my opinion that that remains true. Daniel was gloating until the high wore off and then he was at the very least incredibly shook and definitely not making a move to rub it in Armand's face that he won.

RE; Daniel hating Marius

The show has set Marius up to be a pedophilic groomer. I don't even know if grooming was a widely-used term in the seventies but they dropped it in there and modern sensibilities make that very purposeful writing. Daniel, as stated before, does call out abusive behavior. Is he doing it in a way that reduces harm? Fuck no. Is he hurting everyone in the way he does it? Absolutely. But he has shown no evidence of being supportive of abusers and Marius has been set up explicitly as an abuser.

RE; Conclusion

Daniel Molloy is not a good person but he is not an abuser and there is no evidence that suggests he would love Marius or be in any way supportive of his actions. This is true in particular with Armand, since it is now well-established that they will have a romantic relationship in the future.

[nukeyyy]

finished interview with the vampire season 2 last night and wow what an amazing show 😭 i cried at least once per episode lmao. thoughts BELOW (warning: long post + major spoilers for the show -obvs-)

the actors are phenomenal and i'm always blown away by sam and jacob's chemistry on-screen. i also can't get over how eric bogosian and luke brandon field not only look so much alike but also manage to act very similarly (like the mannerisms, speech patterns etc.)??? like i know it's their jobs as actors but every time i saw young daniel i was just so impressed lol. amazing casting, amazing talent, amazing actors

i had been spoiled for so many things for s2 (i never read the books), like claudia dying, lestat being alive, armand having erased louis's memory and daniel becoming a vampire. yeah that's a lot... i didn't know how it'd be executed in the show at all but i just knew those facts because i wasn't careful enough online whoops 🥲 i was still gagged seeing all those moments on-screen though so i don't mind haha

also i relate to louis character so much it's actually ridiculous. i'm him and he's me. ME AND HIM, HIM AND ME (ok i'll stop)

i could relate to lestat a lot too (i'm somewhat of an expert at loneliness/depression/fear of abandonment and self-sabotage, rip i need help 😎).

armand was fascinating (and intimidating) to me just knowing how he's an ancient vampire who can just fuck you up if he wants to.

daniel's sarcastic comments were probably the funniest thing for me lolll and his facial expressions at certain things being told. like he's lowkey done with this gay vampire drama and it cracks me up. i still think about the "are you a schizophrenic, louis? 🤨" line because it's such a valid question lol and i always wonder why characters in shows/movies don't freak out whenever i see that trope of a character seeing a dead person qsdqs i'd be contacting a doctor asap. real talk i usually don't like that trope much (it usually feels like fanservice more than anything and like the writers are too scared to let the dead character go) but with lestat i actually liked it. probably because i knew he was actually alive. but still i'd feel so emotional when his "ghost" would be around because i knew it was louis imagining what would lestat do or say if he was here (or at least that's how i interpreted it). which... that's how you know you miss someone BAD 'cause the last/only time i felt that way about someone....... yeah.......

now, claudia... sigh. i feel bad for saying that but i really had a hard time liking her character. i WANTED to like her. i did at some points (loooved her at the beginning, in s1), and i always understood her motives and why she felt the way she did. at the same time, i'd feel annoyed with the way she'd always interject into louis and lestat's conversations/arguments, trying to sway louis in the direction she wanted whenever lestat was showing kindness or hints of remorse. she was never willing to give lestat a chance no matter what he did or said and it irked me a bit. it bothered me most at the trial actually, because lestat was apologizing to LOUIS, and claudia was in louis's ear telling him "it's too little too late" like girl pleaseee respectfully, the apology isn't for you to accept or reject. let louis make up his own mind.

louis is a grown man and it's his relationship, so i felt like claudia should've stayed out of it (at least in the moment, i don't mind if she expresses her opinion to louis later). i felt bad for louis because he made so many sacrifices for her but she never really seemed to reciprocate much (or maybe armand erased my memory). i hated how she called louis "dead weight" in her journal in 2x01. again i understand why she was angry at him, but after everything he's done for her, and considering the fact he was grieving the "death" of lestat (which was brutal), his lover of 30+ years iirc, and he basically couldn't talk about it with her (or anyone for that matter), it just felt unfair to him.

idk maybe i'm being way too harsh on her character, i know she's a character that the fandom likes, so really i feel like i'm missing something? i want to like her i really do but i don't vibe with her character. maybe i'll like her more after rewatching the show (not that it matters anymore since she's dead 😬 but still). i did feel for her though when louis didn't believe her about armand threatening her 'cause that was such bullshit lol like as if claudia would make that up... anyway i did enjoy her relationship with madeleine, too bad it ended the way it did. felt bad for madeleine but when claudia came back to her i kinda knew that madeleine would get murdered by the coven eventually 😅 i actually had a theory that the coven would use madeleine as one of their human sacrifices for the théâtre to punish claudia for having a "forbidden friend", and i wasn't too far off!

when lestat saved louis from getting the death sentence ... i remember thinking in the moment of the trial "is it armand or lestat doing that?" then when it "showed" it was armand, i accepted that but i was confused since lestat claims to love louis. then when it was revealed that it was LESTAT that saved louis but armand took credit for it all and lestat let him??? DUDE!

like i had the same reaction as present louis 'cause ... DANIEL? YOUR QUESTIONS MAKE TOO MUCH SENSE. lol. speaking of louis and daniel, i absolutely loved the way louis comforted him in 1973 after all the trauma they'd both gone through. louis has this empathetic side to him that shines through at times and i love it (kinda reminds me of will graham)

i absolutely LIVED for louis burning down the théâtre des vampires, it was absolutely badass and deserved. santiago's death made me go "now THAT'S a vampire show!!!". i enjoyed santiago as a villain, very entertaining to watch he was. also i love that those two fans of the théâtre (the guy and girl with the black and white makeup always sitting in the front row) attended EVERY show lol

something that's more of season 1, but, i love lestat's french. if you don't know, i'm french myself, but i watched the show its original language with english subtitles (as i like to do with every game/show/movie). so when lestat spoke french i loved it i mean. lestat's my favorite and i love the actor who plays him so not gonna lie it'd make me fangirl a bit everytime LMAO like ooo he's speaking MY language!!!

(i'm still a teenage girl at heart i guess sometimes lol)

that argument that lestat and louis had in french in season 1 over claudia (when claudia was in louis' coffin writing in her journal) ... will always make me laugh... just the conclusion of lestat going "putain de merde, bonne nuit" and shutting his coffin and then louis saying bonne nuit back XD it just feels so real you know. when you argue with someone but you still love them enough to say the nice little things.

speaking of arguments, i was so surprised at lestat's recollection of things during the trial, and how it differed from louis' retelling of events to daniel. many times i was like "is lestat lying? orrr" 'cause it's wild how different the versions are. particularly that massive fight in season 1 when lestat dropped him from the sky (if anyone who hasn't watched the show is reading this post, they're probably like "wtf" lmao). if lestat was saying the truth about how it went down, then damn, i feel bad for lestat :/ JUSTICE FOR LESTAT (i feel so toxic for saying that lol). like louis was NASTY in that scene, downright cruel. they both love each other so much yet they both hurt each other just as much it seems. i just want them to be happy 🥲 if that's even possible.

oh and TW: suicide for this section because i want to talk about THAT louis scene in 1973. hell that whole fight he had with armand. first of all, i felt so sad for armand that he was being called boring and dull etc. by louis, even though louis had drugs in his system and was clearly having a mental breakdown. if i'd been armand i would've cried on the spot ngl 😭 i'm surprised armand stayed with louis after that, probably to just spite lestat? but then when louis went on the roof to try to kill himself by burning under the sun ... i was sobbing and even just thinking about it now it makes me want to cry, as someone who's considered suicide many times since i'm like 19, it hit close to home. i wouldn't wish that shit on anybody and it hurts so much seeing a character i love go through that even though it's all just fictional. and when armand contacted lestat and lestat was asking louis (through armand) "why are you ill? what's happened to you?" and later "i love you, louis" and he said it so softly like ... DAMN MY FEELINGS.

i ALMOST forgot to talk about lestat and louis' reunion in new orleans in the last episode (bruh how could i). i CRIED. i loved seeing them take accountability for their past mistakes and just seeing how far the both of them have come, seeing them ACTUALLY be vulnerable and talk to each other and both of them listening to each other and be there for each other. it was such a touching scene. and lestat's voice cracking when he asked louis if he hurt himself back in 1973? it wasn't just his voice that cracked in that moment it was also my HEART wtf

and how sweet and heartfelt that hug was. i was kinda glad they didn't kiss/get back together in that moment. it made the moment more meaningful, and i think it's good for them to be on good terms yet still be apart for some time to process things (not forever of course hehe). i'm just glad they're not against each other anymore and that they seemed to have made peace.

of course at the end louis is basically ready to fight any vampire who wants to kill him over the publishing of the book. i'm not too worried. lestat will probably show up to help louis kick their asses or escape (don't spoil me). i do wonder what happened with armand and where he is now!

oh and i gotta say, about the show overall but again mainly season 1, i absolutely LOVE how they portrayed lestat and louis's relationship in general. i'm so glad they seemed like just a "normal" couple and they weren't written as a GAY couple ... idk if that makes sense. they ARE a gay couple but it's not the defining trait of their relationship, it's a part of it of course, but the writers didn't make it all about their sexuality and they didn't make it a stereotype like some shows & movies treat their gay characters/couples, and it was so refreshing. like i'm not even a dude and i felt SEEN. and then i thought to myself "shit, is this how straight people feel when they see a m/f relationship on-screen???" 'cause 99% of the time i feel nothing when watching m/f relationships, but i get really emotionally invested and i feel a connection with m/m and f/f relationships. kinda sucks to realize though 'cause it just reminds me of how little high quality gay content we get in the media but thankfully times are changing. i mean just thinking of how it was like 10 years ago? back then i always had gay ships that never ended up canon lol it was rough. i'm happy i get to have interesting gay ships that ARE canon these days. hope it keeps going that way 🥹 i don't even bother with anything that involves queerbaiting these days, i only go for stuff with CANON gay/lesbian ships & main characters or i'll pass (with some exceptions), i no longer have the patience i had as a teenager, fuck that. it's 2024 we can have more now >:)

well, that went into a tangent. i'll keep it in though 'cause it's a discussion i'd love to have if anyone wants to talk about that further!

one thing i wonder about is what was up with those feral vampires (that's what i call them) early in season 2? claudia ripped the eyes off from one in the forest. these vampires looked ... uh ... i don't even how to describe it lol. but was it because they kept drinking the blood of people traumatized by the war? or was it something else?

anyway. conclusion is i enjoyed the show so so much and i can't wait for season 3!!! i've heard lestat will be in a rock band in season 3 and i'm hyped haha

i probably missed stuff to talk about but the post is already so long. feel free to send me a message/ask if you want my thoughts on certain plot points/characters or just to discuss them! i'd love to :D as long as you're nice ('cause trust me i'm aware of how hypocritical i am by disliking claudia and yet loving louis and lestat's characters dqdsq i'm sorry for that)

now i can freely check out the fandom weee 💃

[machonnes]

INTERVIEW WITH THE VAMPIRE (2022-) 1.06 | Like Angels Put in Hell by God

[sofipitch]

I know it’s probably kind of pathetic to defend a white man, but everytime someone makes a snide bellow the belt comment about eric bogosian that talks about his looks or his age my petty ass grows to like him just a little bit more.

Like, if in the amc series daniel is a gay/queer man whom survived the 70’s-80’s and beyond to become successful and completely done with lying vampires than I say you know what amc Daniel good for you. Sorry I just needed to vent, bc Eric seems like a okay dude? And the cast seems to really like him? And people are just being (eyeroll) about it.

Again feel free to delete this.

You read my mind. I actually had a petty vague post on the subject that I saved to drafts and then deleted. Some people have insisted that Daniel's dying is critical to his storyline, which he didn't die from AIDS or complications woth alcohol in canon, he got turned into a forever young vampire. And I think that's what ppl want more than anything, young guy Daniel.

I agree, it's definitely more impactful for Daniel to be someone who survived that time period. The original rumors about the TV show that went around said that Daniel botched the first interview with Louis and had a history of drug dependency. So I think those stories will be present, Daniel just gets to live this time. I think it's potentially a better story to have someone get to overcome those difficulties in their life than watch someone like them die. Especially since with AIDS and drug addiction, there can be a lot of victim blaming in those narratives. If ppl want sad white gay trauma porn there are PLENTY of other books and movies on that subject, acting like this is a representation issue is laughable. Again, I think they just want a young guy and don't want to say it.

At the end of the day, Daniel is a background character, he us very popular, but AR didn't give two shits about him. He had his own chapter in a book but so did Baby Jenks, Antoine, or Kapetria. I love him bit am apparently not insane about him like some ppl

[briangroth27]

The Get Down Part 2 Review

I enjoyed the second part of Netflix’s The Get Down and I’m sorry it ended up being the last. This show was exciting, engaging, and completely outside what I normally watch—I’ve never been a big fan of the 70s, disco, or hip-hop—but I loved it and found a new appreciation for all three. I’ll definitely miss these characters and this aesthetic, but I’m glad they found a way to wrap things up in a (mostly) satisfying way. Unlike other reviews I’ve read, I didn’t have a problem with the release structure of this season. Dividing it into “Parts 1 and 2” didn’t throw me at all, first because it’s just branding and second because I always felt Part 1 had a solid beginning, middle, and end. It also had a cliffhanger to leave you wanting more, just like any other show’s season finale. With the new cartoon sequences and the time jump, Part 2 feels so different stylistically that if they had been released together, it would’ve felt jarring and weird.

Full spoilers...

After The Get Down Brothers’ victory at the end of Part 1, they’re reveling in their success while trying to build dream lives for themselves. Zeke’s (Justice Smith) struggle to identify himself in light of his (and everyone else’s) dual lives through his Yale application letter was a perfect encapsulation of this, while also serving as a nice reminder of what happened in Part 1. That duality was a great build off of Zeke giving a speech promoting Ed Koch (Frank Wood), but then immediately running off to perform for the very people Koch was against. The pull between Zeke’s future at Yale/his internship with Mr. Gunns (Michael Gill) and his future as a musical superstar formed a strong backbone to Part 2, and I imagine the looming choice between disappointment now with a good future promised by Yale/Gunns and a dream life granted by music in the present that might have no future is one a lot of people can empathize with. My circumstances aren’t anywhere near as dire as Zeke’s, but I certainly struggle with working towards my dream career or giving up and settling for a routine 9-to-5 job that has financial stability. I think the show did justice to this struggle, but it could’ve been a bit more fleshed out (though Part 2’s shortened episode order may’ve truncated that arc). Zeke’s clear discomfort with navigating the casual racism at the Yale club but still wanting to keep his hopes of college alive despite Shaolin (Shameik Moore) showing up—and then choosing Shao when things got way out of hand—was great to watch. I liked that Zeke stood up for Shao and didn’t rat him out to Gunns, even though it meant giving up his shot at Yale and the internship. That defense made their final split at the end of Part 2 even more heartbreaking, when Zeke discovered Shao had allowed Boo-Boo (Tremaine Brown, Jr.) to sell drugs. It was smart to make their connection to the drugs Shao was pushing not just a way to get rich, like Boo-Boo was trying to do, but a situation that could actually get Shao killed if he stopped, which made it much more complex than Zeke—whose quitting over this felt totally right—wanted to see. Zeke and Shao’s final fight felt perfect and tragic (and was perfectly acted by Smith and Moore), and Zeke scoffing at Shao’s real name when the “kung fu superhero” blinders were finally off was excellent. I feel like Zeke fully understood that even though he’d been best friends with this guy, Shao wasn’t going to stop dragging him into his world (whether it was Shao’s choice to do so or not) and Zeke couldn’t save him, so he had to save himself by cutting Curtis out. I really liked the reversal of the end of Part 1 that the destruction of The Get Down Brothers created: there, he chose rap over the system, but here he bails on his music to go back to Yale.

It would’ve been interesting to expose Zeke to the punk rock scene after Gunns’ daughter Claudia (Julia Garner) discussed it with him. I get him not wanting to explore it after they kissed since it was so closely tied to her, but it would’ve been a neat to at least get his thoughts on it. If the series had more time, rock’s war with disco could’ve made for a good obstacle for Mylene’s (Herizen F. Guardiola) career as well and the musical divide between Claudia’s interests and Mylene’s career would’ve made them direct rivals in an interesting way. That said, I’m glad Zeke came clean about his kiss with Claudia to Mylene instead of trying to hide it for an extended period of time, which helped to defuse the potentially explosive drama it might’ve otherwise caused. Their fight over her saying she was single on TV felt a little too well-worn: it would’ve been more original to subvert expectations and have Zeke understand the demands of public images himself, since he’s somewhat famous too. Regardless of that cliché plot point, the show definitely had me rooting for Zeke and Mylene, even knowing that something tragic was racing at them. Smith and Guardiola had great chemistry and totally sold their romance in both their happy and harder times. Zeke talking Mylene down from Misty Holloway’s (Renée Elise Goldsberry) excellent “Backstabbers” attack was one of those great moments between the two of them. I also loved the knowing goodbye she gave him when she told him she was leaving at the end of the season; that she didn’t repeat “forever” when she said she loves him was heartbreaking. However, the renewed hope that fills Zeke while doing his poetry in his impromptu studio session—the beginning of his recording career, no doubt—was the perfect reaction to his heartbreak. In the end, it was just him and his rhymes, and that’s not only supremely fitting, but a nice segue to the flash-forwards of adult Zeke (Naz) rapping alone on stage. Zeke’s poetry with his future self was very well done (and extremely well-acted) and makes me tear up every time I watch it, while overlaying it with Mylene’s “See You on the Other Side” was a very cool mirror of the Get Down Brothers sampling “Set Me Free” for their battle at the end of Part 1. Reuniting Zeke and Mylene at the very end was extremely fulfilling—I’m choosing to believe that silhouetted trio was the actual Soul Madonnas, not just a tribute—and gave their romance something of a happy ending. Even if that isn’t them, or if it’s not supposed to imply Zeke and Mylene finally got back together, I think he was still waiting for her—and maybe only for her—just like Francisco (Jimmy Smits) waited for Lydia (Zabryna Guevara). No matter what, Zeke and Mylene will always be connected by their music.

Mylene’s journey away from gospel music and into a more sex-laden atmosphere worked really well as a parallel for her growing up and moving beyond the confines of her religious upbringing, even with as blatant as her father (Giancarlo Esposito) being a literal preacher was. I did appreciate and enjoy Mylene finally getting out of that situation with her dad before he died, though, and Guardiola was great at portraying Mylene’s attempts to break free as well as her confidence when it came to taking hold of her group’s future. I also liked the internal drama within the Soul Madonnas that was stirred up by Yolanda’s (Stefanee Marin) concerns about them becoming too sexy, but I thought it should’ve lasted longer. As I’ve seen pointed out elsewhere, her return to the group an episode after ratting out the plans for their sexy show was jarring. I felt like that was a major missed opportunity for Mylene to step up as leader to work out a solution all three of them felt comfortable with while also digging into Yolanda and Regina’s (Shyrley Rodriguez) perspectives more. Personality-wise, Mylene was already a good balance between Yolanda and the more fun-loving, assertive Regina, and it would’ve been great to see her become the balance within the group as well. Seeing her step into a leadership role within the Soul Madonnas would’ve not only given her a new struggle (one that paralleled Zeke and Shao’s fight for the future of the Get Down Brothers, now that I think of it), but would’ve better built her arc towards taking control of her career from Roy (Eric Bogosian). Had Mylene gotten the chance to show him and us that she could handle internal dissension and be a strong voice within the group through the Yolanda incident, it probably would’ve sold Roy agreeing to her terms a bit more. Standing up to him and threatening to walk out of her contract—and Roy caving—may have been unrealistic, as others have noted, but I still liked that she got that moment. Given the necessarily rushed nature of the season, Roy having the sense to keep his talent happy was an emotional win I can get behind, even if it doesn’t make business or real-life sense. 

The other thing I would’ve liked to see in regard to Mylene is where she sees her music going. “See You on the Other Side” implies she won’t fully transition to the full-on sexy thing, but is she content to only do ballads? We know she greatly admired Misty Holloway (at least until Ruby Con), so did she want to be the next Misty or something original? Where does her artistic instinct take her, and what kind of music does she want to be making? Would she have considered pioneering a new style? Would she have tried to dabble in punk rock as that started to challenge disco (and rock ultimately defeated it)? That would’ve been a cool way to pit Mylene’s style against Zeke’s (and Cadillac’s (Yahya Abdul-Mateen II)) in a potential Part 3, give her an entirely different sort of challenge as she tries to adapt to that style, and create an entirely unexpected way to wrap Claudia back into the storyline; maybe she could’ve inspired Mylene to try out what’s out there, since early punk rock was inclusive of women. Of course, those all feel like Part 3 developments. In Part 2, I still would’ve liked to see more of her opinion of what her music should be.

I liked that Mylene and Shao fighting over Zeke’s future gave a much more personal stake to the hip-hop vs. Wall Street nature of Zeke’s two potential paths. That the two of them were the most important figures in Zeke’s life and were fighting over him gave that triangle an interesting aspect that could’ve been fleshed out more, but I liked what we got. I could easily buy that Mylene’s barb about Shaolin being romantically interested in Zeke was more than just an offhand insult. So many characters commented on his and Zeke’s friendship as something more than platonic, like everyone was seeing something he didn’t see (or didn’t want to admit) himself, that I think the writers were definitely hinting that he’s gay or bi. Even Fat Annie (Lillias White) gives a knowing smile when Shao says Zeke isn’t his boyfriend. Shao also immediately understood what was going on between Dizzee (Jaden Smith) and Thor (Noah Le Gros), even though when he “caught them” they weren’t doing anything remotely sexual, which to me implies he's been there, even if he doesn’t want to admit it. Though their friendship was real and he definitely depended on Zeke to provide lyrics to his music, so of course he wouldn’t want to see Zeke head off to Wall Street, I think Shao really might’ve loved him. Perhaps the superhero ninja persona he crafted wasn’t just to cover up the fact that he had no one, but to hide his true identity as well. After all, the only person he really lets his walls down for and tells his “secret identity” to is Zeke. Of course, you can share your deepest truths with your best friend just as easily as with the person you love without it meaning you love your best friend too, but in this era it seems telling that Shao’s ultra-masculine alter-ego only comes down for Zeke in a desperate effort to make him stay.

It’s sad that Shao didn’t ever seem to have had anyone and needed Zeke a whole lot more than Zeke needed him. That made their split all the more heartbreaking. The push and pull over who was actually leading the Get Down Brothers—Zeke or Shaolin—worked well to build their growing conflict to the breaking point. Once they were there, I thought it was a beautiful and heart-rending note to have Shao resort to a Fat Annie movie when Zeke tried to walk away from him. Speaking of Fat Annie, Shaolin falling into dealing angel dust was disappointing given how strongly he’d only cared about being a DJ in Part 1. It’s tragic that moving it for Cadillac was the only way to keep his music going, particularly as it directly led to the end of his DJ career. It’s even more tragic that Shao ended up staying with Annie to protect the rest of The Get Down Brothers after getting even Cadillac out of her grasp. As sad as that is (and Moore sold Shao’s defeat perfectly), it felt like an earned end for him and satisfyingly explained why Fat Annie would let Zeke and the others get away. I wish we were getting a Part 3 to show him escape her grasp.

Adding Dizzee as a secondary narrator was an interesting choice, but it would’ve worked better if the show had honestly and more deeply explored his secret life. That would’ve justified and smoothed over the feeling I got that he was so unconnected from the main plot this season. Aside from Dizzee getting yelled at by his parents (Karen Aldridge, Ron Cephas Jones) alongside his brothers, Get Down Brothers gigs, and accidentally taking the tainted angel dust, it felt like he was existing in a slightly different show that didn’t really reconnect with the rest of the plotlines. As I’ve seen pointed out elsewhere, Part 1 had him doing his own thing too, but still made his connection to the rest of the plot a lot cleaner and more important when he introduced “Set Me Free” to the real tastemakers of New York and made it a hit. Here, even when he collided with the subplots of other characters, like taking the supposedly very dangerous tainted angel dust, he just got a little sick for a minute (which was weird in and of itself) and then continued doing his own thing. That said, his narration and the cartoon segments played into not only the heightened reality of Part 1, but the comics and 70s cartoons the guys would’ve been into as well. I like the interpretation I’ve seen elsewhere that (most of) the cartoon sequences are idealized versions of what the characters were experiencing, like the animated scene that follows their victory at the unity concert where all their comic book alter egos are reveling in their success before the real world comes crashing down around them and their dreams. That was probably the most successful use of the cartoons. On the other hand, there were some animated sequences that were literally just a character arriving at/leaving a building, which felt awkward and pointless. There didn’t seem to be any thematic reasoning for those moments to be animated and the transitions between real and cartoon characters were awkward and disruptive when used that way.

The biggest disappointment about Dizzee’s arc this season was how shy the show was about his burgeoning sexuality. I expected much more to Dizzee coming to terms with being either bi or gay and they literally didn’t even dare speak that love’s name, which was a bizarre choice for a season that also featured Ruby Con and numerous drag queens. It was weird that Dizzee and Thor weren’t able to ever kiss, even when they were painting each other. Dizzee inferring that Boo-Boo wouldn’t ever understand what he was going through was perfectly tragic (and it was a very well-acted scene by both of them), but I wish we’d gotten to see him take a chance and tell his little brother the truth. It would’ve opened Dizzee’s arc to the rest of the characters and Boo-Boo (and the rest of them) trying to deal with it could’ve been a solid dramatic arc. At the very least, a scene with Shao giving Dizzee some comforting words (whether Shao is into guys too or not) would’ve been great. Since Dizzee didn’t tell anyone, feeling (and animating himself) as an alien made a lot of sense and worked, and Jaden Smith conveyed the pain of knowing he couldn’t share his secret very well. I thought for sure this Part would do an AIDS storyline given the time period and the impact it had on the gay community and that would’ve been a powerful, important story to tell. I’m not sure I could’ve handled that level of heartbreak given everything else that went down in the finale, but I did go into Part 2 expecting tragedy heading for Dizzee and Thor. However, what the show gave us instead felt pointless and needlessly mean. My impression was absolutely that Dizzee got hit by the train and that was not a satisfying conclusion to his story at all. Not only did they not let him kiss the guy he was in love with, but half the gay couple gets killed? Come on. The two of them never fit into flamboyant stereotypes about gay guys, but “bury your gays” is an even worse cliché. It felt like a cheap shock that didn’t need to happen. I don’t think the series would’ve had any less of an impact had they just been happy together and it didn’t gain anything by (maybe) killing Dizzee.

Comparatively, Boo-Boo and Ra-Ra (Skylan Brooks) didn’t get much to do this season, and that’s a shame. Boo-Boo’s stint in the drug trade was certainly unexpected and it was disappointing to watch him get wrapped up in that lifestyle, even if all three Kipling brothers’ reaction to their parents grounding them for the drugs they found was funny. Like Shao’s predicament, it was tragic that it was the only way he could see to raise his social status. Regardless, Brown, Jr. clearly had a blast as Boo-Boo briefly hit the high life with this dangerous gig. Boo-Boo’s ultimate arrest was sad and shocking; maybe I was “stuck on hope” or looking for a Hollywood ending, but I didn’t actually expect Boo-Boo to end up in prison. Along with Dizzee’s apparent death, that definitely brought the fantastical nature of the show back to the ground with a stark reminder of the realities of life. That could’ve easily upset the tone of the show, but I think it worked.

I liked Ra-Ra thinking about the future and dabbling in making what The Get Down Brothers do truly profitable and long-term. His sojourn into the Universal Zulu Nation territory was a cool introduction of that style and I liked that he wasn’t welcome because The Get Down Brothers had been marked as drug dealers. The positive culture there was a nice counterpoint to what we’d seen so far and I wish the show had time to explore it more via Ra-Ra’s perspective. I wish it weren’t so animated though; if the animated sections are to be considered the characters’ dream worlds, why is the real salvation from Fat Annie the gang finds in Ra-Ra’s trip animated as well? At first that felt incongruous, but perhaps it’s because the guys aren’t really saved from Fat Annie at all. They get out of her contract, but she still gets Boo-Boo arrested and they still break up. In any case, I wish we’d gotten more of Ra-Ra this season. Brooks brought a great, distinctive energy to Ra-Ra and I would’ve liked to see more of that. Trying to woo Tanya (Imani Lewis) on the phone was so funny and sweet, and this half of the show could’ve used a bit more of his innocence and optimism. I also would’ve liked to see where his forward-thinking got him in the future. He’s one of the main characters and deserved at least a hint at his destiny. 

Cadillac’s love for video games and disco made for a really fun and unique gangster, while his desire to go to space was a great, unexpected reveal! I’m sure Abdul-Mateen II had an absolute blast playing this character and he’ll definitely remain one of the most memorable parts of the show. It was awesome that even Cadillac felt like he got a complete ending to his arc in Part 2. I liked that the unity concert actually changed Cadillac’s mind and got him to successfully break free of Fat Annie. Agreeing to let the Get Down Brothers go after Shao acknowledged their common bonds of abuse by Fat Annie and their desires to be free was a great moment and I really liked both characters at that point. I loved that he’s going to use his freedom to work on his own music, even if his time as a music producer never felt fully fleshed-out in either Part of the series. However, that may have been the point. His revelation about not ever really focusing on his Super-High Voltage Records label all this time felt like a wake-up call to people with goals everywhere: he’s gotten nowhere on his dream at least partially because he never really buckled down and tried. For me, that was a surprising connection to a character who seemed like he’d be completely nefarious and unrelatable at first! I would’ve liked to see him struggle to make it as a producer as Disco died in a potential Part 3. That said, there were a few bumps in the road for Cadillac’s development. It seemed like there was a bit of disconnect between the end of Part 1 and the beginning of Part 2: I felt like he was far more prepared to get revenge on The Get Down Brothers at the end of Part 1 and thought he already knew where they’d gotten their sound system and records, but that reveal was saved for Part 2. It’s possible I misread his moment watching them perform at the end of Part 1, though. His continued obsessive “love” of Mylene was creepy and didn’t amount to anything, so I don’t know why it needed to persist beyond Part 1 (or even past the pilot). On the other hand, I’m so glad that neither that nor Mylene’s producer Shane’s (Jeremie Harris) somewhat teased interest in her ever became anything. I didn’t need to see her sexually used or abused by some skeevy adult in power.

Besides, Mylene’s father using her was enough. As blunt as a man of God trying to keep his daughter holy was, it was cleverly twisted by Ramon trying to exploit Mylene’s career to increase the standing—and the trappings—of his church. I liked that his ambitions became just as gaudy and “godless” as he feared Mylene’s career and soul would become, hurting himself and those around him in the process. His presence even actively drove her to the drugs he feared her fame would expose her to, like when she used cocaine to calm her nerves when he showed up at the Ruby Con. As strong an example of how much impact he had on her as that was, however, it was a somewhat bizarre one-off moment (perhaps in an expanded season, she’d have her own drug problem to parallel what Shao and Boo-Boo were doing). On the other hand, his controlling nature extending into beating his wife felt cliché and unnecessary. I hated him so much in the end that I didn’t care he died; in fact, I was happy to see him go. That said, I wish there’d been more fallout to his suicide than Mylene overcoming it as a survivor (though a strong Mylene is always a good thing). While Ramon probably became the villain of his own story without realizing it, Fat Annie reveled in her ill-gotten empire. She was a great villain and the implication that she’d been abusing both Shao and Cadillac made her feel evil in a far ickier way. I’ve seen people say killing the cat was too much, but I think they did it to prove she really would kill more kids. Perhaps the writing could’ve given her some more dimension and motivation, but she never felt like a one-note character to me (possibly because her performance was so entertaining). I liked that Francisco was finally revealed as Mylene’s actual father and the fact that he “slept alone” since 1960 was sweet. Though it was a little rushed and sidelined, his end felt earned. I feel like we should’ve gotten more of Lydia’s reactions to everything happening with the two men in her life, as well as her daughter’s career, in far more detail than we did. I also would’ve liked more from Jackie Moreno (Kevin Corrigan) than the couple of songs he wrote for Mylene and his support in the contract renegotiation scene. He seemed like such a presence in the first half the series that it was odd he was so sidelined here. It would’ve been nice if more had been done with the three kingdoms of Hip Hop pioneers—Kool Herc (Eric D. Hill, Jr.), Grandmaster Flash (Mamoudou Athie), and Afrika Bambaataa (Okieriete Onaodowan)—as well before they came together to save the kids from their contract with Fat Annie. If we’d known them better, seeing them unite for this moment would’ve felt like a bigger deal. 

I liked the way the teens’ success in Part 1 segued into the manipulation of that success by the people behind Zeke and Mylene in Part 2. That made for a surprising (if inevitable) bittersweetness to their wins at the end of the first Part while giving them new battles to fight that didn’t feel like retreads of the first half of the series, even if many of the same players were involved. For example, the dance/rap-off between the Get Down Brothers and Cadillac’s disco music at Les Inferno was really entertaining and a great restructuring of Zeke and Cadillac’s dance-off over Mylene in the pilot. Fat Annie’s record contract for the Get Down Brothers worked well as a plot for me and I liked that the final rap battle wasn’t just about freeing themselves from that contract, but about proving that using a band just isn’t the same. That said, I really liked the gut-punch reveal at the end that the first hip-hop record did use a band. That sort of historical irony played really well, and had the show continued it seems like that sort of thing might’ve been the battle of a potential Part 3: as I saw pointed out on IGN, it’s ironic that Mylene is such a disco revelation too late in the game for that genre, while The Get Down Brothers arrived on the hip-hop scene a bit too early. I would’ve liked to see the characters navigate the changing trends in music and it’s a shame we won’t get to see more of their stories. Having so many of the main characters meet bad ends was sad, but felt real (even if I’ll never buy that dark/depressing is inherently more “realistic”).

Although I liked a lot the new songs, none of them matched “Set Me Free” or The Get Down Brothers’ winning mix from the end of Part 1 except “See You on the Other Side.” That one had a lot of emotion packed into it and was perfectly used to wrap up the show. The remix of Gonna Fly Now (the Rocky Theme) was cool too; it’s also used directly after they win the Unity Concert and right before their dreams are crushed; like Rocky, they go the distance but don’t really get to win. I loved the heightened reality this show lived in, while the Soul Train-type show Platinum Boogie was a fun bit of 70s atmosphere and I loved how outlandish the Studio 54-esque Ruby Con nightclub was, both thematically and design-wise. The truly creepy and unnerving intro to Episode 4 was very effective and surreal; so effective that I’m not sure the rest of the club or the episode lived up to what the intro promised, even if it still mostly worked. The use of stock footage from the real-life 70s intercut with the glossier night clubs and modern film quality still plays very well too. This world was so unique and well-constructed that it feels like we lost something special with the show’s cancellation.

I’m going to miss The Get Down, these characters, and this world. The actors were excellent across the board and I can’t wait to see more of them in their future projects. Despite some missed opportunities for exploring the characters more (mostly caused by the truncated season), this was a great, satisfying conclusion to the show. In regard to actual events, these 11 episodes may be fictionalized and softened (from what I’ve gathered from other reviews), but they’re still an entertaining insight into an aspect of history I never knew about. If you never gave The Get Down a chance, it’s definitely worth checking out!

Check out more of my reviews, opinions, and original short stories here!

[hellofastestnewsfan]

This post contains major spoilers for Season 2, Episode 9 of Succession.

Would an Atlantic article really refer to a media exec as “a smirking block of domestic feta” due to his dodgy congressional testimony, as we were portrayed to have done to poor Tom Wambsgans in the latest episode of Succession? Hmm. I, at least, have reached for cheese comparisons before. Maybe our editors would nix the suggestion of food that has a face to smirk with. But some mixed metaphors are too fun to block, as the writers of Succession’s deliciously nonsensical banter know well.

Certainly the imaginary Atlantic description fits Tom’s (Matthew Macfadyen) congressional performance. He crumbles crappily. Responding to a federal inquiry into sexual exploitation and cover-ups at Brightstar Cruises, he over-prepares and yet still acts like he’s been ambushed. When Senator Gil Eavis (Eric Bogosian) asks about the nickname for the late pervy cruise boss (“Mo” Lester), Tom explains that, well, Lester just seemed like a molester. He commits flagrant perjury on the topic of whether he actually knows his own deputy, Greg (Nicholas Braun). He responds to the question of whether he used underlings as furniture like this: “Senator, I use a variety of target-oriented incentives to enhance optimal performance.”

After that cringey interrogation, Tom accuses his colleagues—and his wife, Siobhan (Sarah Snook)—of having set him up as a patsy. Maybe they did do that. Maybe they didn’t but will now. It seems possible that Tom could be the “blood sacrifice” that the family patriarch Logan (Brian Cox) says he’ll need to end this scandal. In any case, Tom’s problems fundamentally are created by Tom. He’s a horrible person but also a horrible con man: the kind of guy who, to take one example that made him vulnerable to prosecution, commits harassment by email. “Just remember it is not a courthouse, it is a stage,” Waystar’s strategist Hugo counsels him before the hearing. “Anything goes.” Tom’s useless nib of conscience, his wavering fealty to the big lie, and his undisciplined cowardice ruin the act.

The actual Roy kids have screwed up for similar reasons before. But in this episode, as Waystar-Royco faced its greatest existential threat, they make a surprising display of mettle—sparring with lawmakers, securing a financial bailout, and neutralizing a whistle-blower. The realm of politics pushes Succession’s kids to grok what Tom doesn’t yet grasp: how great BS works.

Logan, of course, is the master. In private he screams that the scandal over cruises was “nonsense.” At the hearing, he dons his reading glasses and soberly reports that learning of internal malfeasance made for “the worst day of [his] life,” adding, “Frankly I don’t know if I’ll ever forgive myself.” He vows a full investigation and thorough prosecution of wrongdoers—and does this so convincingly that Connor Roy (Alan Ruck) whispers “Fuck yeah” in the audience. When specific questions come from senators, Logan mumbles, speaks in vagaries, and redirects to his son: a fully committed filibuster.

Next up is Kendall Roy, the troubled and oft-bumbling eldest. The actor Jeremy Strong affects a perfectly blank look throughout Logan’s testimony—which makes it all the more electrifying when Kendall livens up into a cable-news counterpuncher. Back at the Argestes conference earlier in the season, when the cruise scandal was just breaking, he’d insisted that the company take responsibility for its abuses. Now, he aggressively reroutes the hearing’s topic from Warstar-Royco’s wrongdoing to the supposed witch-hunting of the liberal Eavis, who Kendall suggests wanted a state-run media. Kendall’s bluster is as irrelevant to the hearing’s goals as it is advantageous for his own: A hack on the Fox News–like ATN hails it as “a takedown for the ages.”

Roman Roy’s (Kieran Culkin) task: to convince the Azerbaijani heir Edward (Babak Tafti) to sink royal money into Waystar. When Logan puts this assignment to him, Roman calls the ask “a stretch” and offers, “If it’s really important, I can say I’ll do it, like a fireman in a movie.” Translation: I don’t think I can do it. Yet when pitching Edward’s team in Turkey, Roman puts on a striking display of seriousness and straight talk while outlining the upside of investing in Waystar. Unfortunately the presentation is interrupted by a team of polite kidnappers; fortunately, while being held hostage as part of some sort of sectarian power grab, Roman is still able to move the deal along. The would-be investors ask all the right questions: Might the government block the deal? Might the takeover bid against Waystar interfere? But Roman, so often indecisive and mealymouthed, calmly insists that there’s no need to worry about those things.

Negotiating under gunpoint might still be a less daunting job than the one Shiv finds herself saddled with: convincing a woman who worked for  Lester to stay quiet about what she saw. The prospect of bullying a mega #MeToo witness is so gross that the incoming Waystar CEO Rhea (Holly Hunter) bails on it at the last moment, leaving Shiv to act alone. As Kira (Sally Murphy) watches her kid play on the jungle gym, Shiv chats her up using a fire-ice mix—sympathy and innuendo, real talk and manipulation—that gradually wears down the former cruise employee’s caginess. In part, Shiv builds trust by seeming to break trust: calling Logan a serial liar and even admitting that she herself only had her own interests, not Kira’s, at heart. But she also employs fear (spelling out all the public abuse Kira would receive for testifying), bribery (casually offering millions), and an appeal to virtue (a vow to clear out Waystar’s creeps). The multifront approach works. Kira goes quiet.

What’s remarkable about the Roys’ performances is that while they were symphonies of spin, they weren’t necessarily full of lies. Logan does wish there wasn’t a mess to clean up; Kendall does disdain Gil’s politics; Roman does believe in the company; Shiv does want to clean it up. If there is a secret to Logan’s dominance, it’s in his ability to state a seemingly impossible goal and then convince himself—and eventually the world—of its realness. “When I say something will happen that thing will happen,” he said earlier this season to Rhea. Now, in the course of quitting her job, Rhea tells him, “I don’t know if you care about anything, and that scares me.” The truth may well be that he doesn’t care about anything other than self preservation—and finally his kids are understanding there’s power in that.

from The Atlantic https://ift.tt/2VkyrUz

[roteach]

Woburn MA Boy Makes Good.

This article Is from the Woburn Public Library Foundation. Eric graduated several years before I started working in the school system.

An Interview with Eric Bogosian

By Terry Dalton Eric Bogosian’s career started in Woburn, shifted to New York City and then Hollywood, and includes work as an actor, playwright, screenwriter, director, novelist and historian. On April 26, the actor best known for his long-running role on “Law & Order: Criminal Intent” and HBO’s current “Billions,” returns to Woburn to do what he does best: tell stories. “An Evening with Eric Bogosian,” a fundraiser for the Woburn Public Library’s renovation and expansion project, will include performances of some of his monologues, stories about some of the legendary actors and directors with whom he’s collaborated, including Oliver Stone (director of Bogosian’s “Talk Radio”), Robert Altman (director of “The Caine Mutiny Court-Martial”) and Steven Seagal (co-star in “Under Siege”) and tales from researching his nonfiction book “Operation Nemesis: The Assassination Plot That Avenged the Armenian Genocide.” “It’s funny,” says Bogosian over the phone from his home in New Jersey, “I got to a certain point and started looking back at the opportunities I’ve had, the people I’ve met. It all starts with the place where you grew up and your family and friends who give you strong roots.” In the 1960s when he was growing up, Bogosian says Woburn was a very insular town. “I didn’t have much understanding of anything outside of Woburn,” he says. “I was a bookworm so I haunted the library in junior high and high school. I had great friends, who I am still in touch with, and a wonderful English teacher in high school named Dot McCausland, who told us we were wonderful and encouraged us to write our own theater pieces. I didn’t think much of it at the time, but it was really remarkable.” Bogosian dropped out of the University of Chicago and before heading to Oberlin College to finish his degree, he spent what he calls “a truly odd chapter” in his life. “I was working at the mall, living back in my parents’ house, feeling like I was in between things,” Bogosian says, “and I joined my friends to perform with the Woburn Drama Guild.” Those friends included Nick Paleologos and Fred Zollo, who went on to become a successful duo producing Broadway shows and movies. Paleologos, who will appear April 26 with Bogosian, also served as a state representative, was the Executive Director of the Massachusetts Film Office, and is currently Executive Director of the New Jersey State Council on the Arts. “Fred and I both moved to New York at the same time,” says Bogosian, “but he was uptown and I was downtown.” Bogosian initially developed a following for his high-energy, one-man shows, “FunHouse,” “Drinking in America,” “Sex, Drugs, Rock-and-Roll” and “Talk Radio,” which offered sharply drawn sketches of quirky, often darkly funny characters from the neighborhood, TV and his own imagination. He has described his performances as a kind of “punk rock style of acting ... using the audience to feed off of.” Bogosian said his work in the ‘80s was a reaction to theater he thought was boring. “I was trying to make it as hard rock as I could, as exciting as I could,” he says. The New York Times described his characters and performances as “caustic and fast-paced,” but Bogosian says that is probably the exact opposite of who he really is offstage. “I’m more mushy and sentimental,” he says. Although he may not be performing those characters too often anymore, he has reached out to a wide range of actors to capture 100 of his short monologues on video. Jessica Hecht, Bill Irwin, Ethan Hawke and Marg Helgenberger are just a few of the actors who have performed these pieces, now up on the website 100monologues.com. “We have 65 up on the website now,” he says, “with several more coming soon, and for me, it’s been extraordinary to see how each of these actors approaches the script.” After the success of “Talk Radio,” Bogosian moved into film and TV. “I had a great run in the ‘80s and early ‘90s,” he says. “And then it got quiet before I got cast in films and TV. Artists get branded, and then limited by that brand, so I just keep making different things.” In addition to his acting and screenwriting, Bogosian has written three novels, but says it was a gift to be in his 50s and have the opportunity to work on something far outside his familiar beat. His nonfiction book, “Operation Nemesis” required a level of discipline that led him to spend eight years researching and writing. “I heard about this group of survivors of the Armenian genocide who became assassins, and thought it would make a great screenplay,” he says. “I figured I’d spend two or three months on research, write it and be finished.” The research, however, led him to dig deeper. When he discovered the assassins were part of a hit squad operating out of Watertown, where some of his family now lives, he knew he had to devote a more serious amount of time. He went back to his earlier haunt: the library. “I am so happy to help the effort to fundraise for the library,” he says. “It’s a place of hope and knowledge and access for everyone.” No matter how elaborate performances can become, Bogosian says “there’s no getting away from the fact that an individual getting up in front of a group of people to tell a story has tremendous power. The library can be a reliable place where people can gather.” “An Evening with Eric Bogosian” is a benefit for the Woburn Public Library. You can find more information and purchase tickets for the performance and meet-and-greet on the Woburn Public Library Foundation website.