Showtime

Subterms

    More stories

    • 88 Shares99 Views

      in Television

      Melanie Lynskey on That Chilling ‘Yellowjackets’ Finale

      by

      The actress discussed her character’s cool under pressure, her favorite fan theories and one thing she insisted to writers that Shauna would never do.This interview contains major spoilers from the season finale of “Yellowjackets.”Melanie Lynskey and I are going to talk about the tragic final twist in the “Yellowjackets” season finale in a moment. But first, I’m still reeling from the opening minutes.Shauna, with an electric carving knife, in the bathtub?“I know, right?” said Lynskey, 44, who plays the adult version of Shauna on Showtime’s buzzy psychological horror series “Yellowjackets,” about a high school girls soccer team that becomes stranded in the wilderness after a plane crash in 1996. We’ve seen just enough to know that their time in the woods didn’t end well, especially not for those who wound up literally butchered and eaten by the survivors. But it’s pretty clear that surviving — which is to say, having been reduced to murder and cannibalism — took a toll as well.Case in point: the relative calm with which the adult Shauna, in the present day, dismembers her new boyfriend … to hide the evidence of having accidentally stabbed him to death with a different, nonelectric knife.“There are moments with this character when we have to remember that she’s operating on Autopilot,” Lynskey said of Shauna. “There’s a problem, and she’s just like, OK, let me get through this part of the problem until another problem arises. She’s just trying to keep one foot in front of the other.”Lynskey, a New Zealand actress whose Kiwi twang morphs into a flawless American accent on “Yellowjackets,” was calling from her daughter’s bedroom last week in Atlanta (“I’m hiding,” she explained), the city where she’s shooting the coming Hulu series “Candy.” In that series, she plays a woman on the other end of a blade: Betty Gore, a Wylie, Tex., woman who was murdered with an ax by her best friend, Candy Montgomery, in 1980.Lynskey as Shauna with Warren Kole, who plays Shauna’s husband, Jeff. “She’s scared to look too closely at ‘Who is this person I’m with?,’” Lynksey said of her character’s decision to marry him.  Kailey Schwerman/Showtime“I like things with a little bit of darkness,” Lynskey said. “I like seeing how normal people can get to a desperate point.”Lynskey’s high-profile roles in “Yellowjackets,” for which she earned a Critics Choice Award nomination, and in Adam McKay’s star-studded apocalyptic Netflix satire, “Don’t Look Up,” are the latest successes in a career that, in recent years, has included major roles in the HBO series “Togetherness” (2015-16); in Macon Blair’s 2017 critically beloved film, “I Don’t Feel at Home in This World Anymore”; and in the FX on Hulu historical series “Mrs. America” (2020).But although the parts and the budgets keep getting bigger, the roles are still the kind she loves to play: real women, wrinkles, curves and all.“A lot of women out there look like me,” Lynskey said of Shauna’s come-as-you-are appearance. “That was really important to me.”In an interview, she discussed her favorite fan theories, Shauna’s uncanny resolve and the one thing she told the writers her character would never do. These are edited excerpts from the conversation.First things first: Where does Shauna find the resolve to chop up her lover’s body in a bathtub? We even see it when she’s in the wilderness in high school, volunteering to slit the deer’s throat.I’m hoping that we meet members of her family so we can see why she is who she is. She seems like a completely self-sufficient person even before she’s stranded in this situation. I think there’s something inside her that’s a little bit scary even to her, but it feels like the most honest part of herself.It’s not just young Shauna who butchers animals — as an adult, she guts a rabbit in the kitchen. Are you squeamish when it comes to blood?I’m a vegetarian — I haven’t eaten meat since I was 10 years old. I didn’t want to have to do that with a real rabbit, so they made me this crazy prop rabbit — it was all magnets, sticking pieces together. It looked so real!How else are you like and not like Shauna?She’s able to switch into a cold, calculating veneer that I don’t know if I have — I guess I must, because it can come out of me. But she’s also someone who has a great capacity for love, so we’re alike in that way. She’s a lot more confident than I am, but she still has moments of self-doubt, which can lead her to make some of her biggest mistakes.What about when it comes to survival skills?If I’m going anywhere, I have to read every single TripAdvisor and Yelp review just to make sure the hotel is going to be as nice as I need it to be. I’m very particular, very princess-y. When I was a child, I went to nature camp for a few days, and the entire thing was torture. At the end of it, everyone in the class had to write a letter to the person who impressed them the most, and I got every letter because people were like: “You got through it. You cried the entire time, but somehow, you did it.”The director Ariel Kleiman with Lynskey and Peter Gadiot during production of the series. Gadiot plays Shauna’s lover, whose affair with her becomes complicated by a kitchen knife. Michael Courtney/ShowtimeLet’s talk about Jeff (Warren Kole). Why does Shauna stay with him?Before the wilderness, there was chemistry, and they really liked each other, but Shauna felt like it was temporary. And then she came back from this experience with a ton of survivor’s guilt. But she’s not dealing with any of it — she’s just stuffing it all down, and she feels like the responsible thing to do is to now marry Jeff. She’s scared to look too closely at “Who is this person I’m with?” in case she has to do something difficult. It’s a similar situation with Adam [the former lover in the bathtub, played by Peter Gadiot], where she just kind of jumps into things. She’s so scared of finding out something she doesn’t want to know that she just lets things happen to her.How much did you know about Shauna’s character going into the series?The writers had told me what happened to Jackie [Ella Purnell], because when she started appearing in front of me in flashbacks, I said I needed to know specifics. And I knew the trajectory of the Adam relationship. I knew the trajectory of the Jeff relationship and that he was the blackmailer. I think sometimes writers are scared that if an actor has all the information, they’re going to give things away in their performance, but it’s helpful for me to have so I can do something layered that’s fun for people to go back and watch.Such as?When Jeff and I are driving back from brunch with Jackie’s parents [in Episode 6], we’re talking about Jackie, and I say, “Do you wish you had ended up with her?” And he says, “No, I was just the high school boyfriend.” We’d never had a conversation about that, and that’s something he knew Jackie had said because he read Shauna’s journals. And so I was able to react to that moment like, That’s a bit interesting. I don’t know why he said that or how he knows that.To clarify, Jackie is for sure dead — she’s not pulling a Van?As far as I know. I don’t see how she comes back from [freezing to death]. [Laughs.] And I think Ella’s contract was always just a year.A slew of fan theories about Shauna have cropped up on social media. Do you have any favorites?It was so interesting to me that nobody was like, “What if Adam just likes her?” Part of it is that it’s a mystery show, and he’s a suspicious character. And part of it is that it’s an unconventional relationship where he’s more conventionally attractive than me, he’s younger than me, he’s thinner than me. So it’s very hard for people to accept that that might just be a relationship that they’re witnessing. And then there were some theories that were just so nuts — so many people were like, “He’s Shauna’s wilderness baby.” I wish I could remember all the crazy ones. “He’s Jackie” was a funny one.What kind of input do you have into your character?It’s not often, but there are times when I read something and am just like, “This doesn’t feel real to me.” When I was about to go on a date with Adam, they had me stealing a pair of my daughter’s underwear — like a thong — to wear. And I just was like, “Guys, first of all, as a mother, no.” That’s so gross. I know that Shauna doesn’t have boundaries, but that’s, like, a step too far. And, realistically, they wouldn’t fit me. There’s no woman in the world that’s going to watch that scene and be like, “I believe that she’s comfortably wearing those underpants.” But they’re very good about listening to me!Have they told you anything about Season 2?I know they haven’t even gotten into the writers’ room yet, so I want to give them a minute. But I definitely want to ask questions. I really think I probably drive them crazy. More

    • 113 Shares149 Views

      in Movies

      ‘The Real Charlie Chaplin’ Review: Not Enough Funny Business

      by

      The documentary attempts to restore a sense of mystery to Chaplin’s life and work, but the filmmakers mostly run through a well-trodden timeline.The biographical documentary “The Real Charlie Chaplin” looks to restore a sense of mystery to its beyond-famous subject. The filmmakers, Peter Middleton and James Spinney, mostly run through the well-trodden timeline of Charlie Chaplin’s life and fame — from poverty to ubiquity to exile in Switzerland — but they keep up a wondering, questing approach.Narrated by the actress Pearl Mackie (“Doctor Who”), the film maintains a sprightly tempo, trying out angles on Chaplin: his technique of working out comedy bits and scenes on camera; the story of an impersonator named Charlie Aplin; his satire of Adolf Hitler in “The Great Dictator”; and his virtuosic creation, the Little Tramp, which is linked to the star’s impoverished upbringing in South London. There is also commentary by the actor and director Mack Sennett, the actress Virginia Cherrill (star of “City Lights”), and Lita Grey Chaplin, who worked for Chaplin at 12 years old and married him at 16.The film features two dramatizations of audio interviews by lip-syncing actors (a method the directors also used in “Notes on Blindness”). In one chat, Chaplin imparts behind-the-scenes tidbits to Life magazine at his Swiss mansion; in the other, an older neighbor in South London reminisces about Charlie to Kevin Brownlow (who himself co-directed the important three-part 1983 series “Unknown Chaplin”). There’s also a recreation of a contentious press conference from 1947.Middleton and Spinney address Chaplin’s romantic scandals but sympathetically dwell on his persecution by anti-Communists in the United States. The tell-all promise of the film’s title dwindles away into predictable perspectives from members of his family. But this introduction to Chaplin shines whenever he performs, displaying his comic genius for doing everything wrong to absolute perfection.The Real Charlie ChaplinNot rated. Running time: 1 hour 54 minutes. In theaters, and on Showtime platforms Dec. 11. More

    • 113 Shares199 Views

      in Movies

      ‘Cusp’ Review: Teenage Girls, Stuck With Shrugging Off Harm

      by

      What starts as a documentary about three Texan high schoolers becomes a look at the normalization of sexual abuse.Directed by Isabel Bethencourt and Parker Hill, the verité-style documentary “Cusp” follows three Texan teenage girls on summer vacation. The group of friends, Brittney, Aaloni, and Autumn, ages 15 to 16, live a seemingly carefree existence. But as we partake in the girls’ shenanigans — house parties, back seat gossiping, bedroom intimacies — their recurring testimonies about sexual trauma and consent stand out.A portrait of modern girlhood, this documentary ultimately becomes a bleak look at the normalization of sexual abuse among the very victimized young women.The film begins on a disturbing note: Two girls laze around on a tire swing as a boy nonchalantly approaches with a rifle slung over his shoulder. Though the location in Texas is unspecified, grassy flatlands, gravel roads and isolated bungalows suggest these are rural, working-class parts. (Press materials say the filmmakers, based in New York, met the girls on a road trip a few summers ago.)Brittney, who wears contoured makeup that adds years to her appearance, discusses her daily drinking and partying with a grin and shrug. Aaloni worships her freewheeling mother and loathes her chauvinistic father, who is never captured on camera. Autumn suffers a bad breakup, which sends her spiraling into reckless party mode. She even gets her nipple pierced by Aaloni, the one moment in the film not centered on boys and trauma.Either in voice-over or in discussions caught on camera, the girls speak candidly to their experiences with rape or sexual abuse and the regularity with which they are approached by older men who initially feign concern about their status as minors. Their hyper-awareness of these dynamics feels all the more tragic when one of them begins dating a controlling adult man.The film ends on a hopeful note, which feels contrived given the bottom line: that the cyclical nature of sexual abuse is resilient and yet unbroken.CuspNot rated. Running time: 1 hour 32 minutes. In theaters currently. On Showtime beginning Nov. 26. More

    • 100 Shares149 Views

      in Television

      Get Your Kill Room Ready. Dexter Is Back.

      by

      Eight years after the lovable serial killer went into bearded self-exile, he returns for “Dexter: New Blood.” Here’s a refresher on where things left off.“Dexter” ended in 2013, with its protagonist self-exiled to the frozen North and most major characters dead. But you can’t keep a high-functioning psychopath down. “Dexter: New Blood,” which premieres on Showtime on Nov. 7, finds Michael C. Hall’s Dexter Morgan working at a fish and game shop under an assumed name. His side hustles including bladesmithing, goat farming and maybe some vengeance.In the intervening eight years, you may have forgotten a few details of the show — other than, say, its wildly unpopular finale. Here are a few mementos.The KillerDexter Morgan, born Dexter Moser, grew up in Miami, the adopted son of Harry Morgan (James Remar), a Miami Metro police officer, and his wife, Doris. He has an adoptive sister, Debra Morgan (Jennifer Carpenter). During the first season, it is revealed that Dexter also has a half-brother, Brian (Christian Camargo), and that the two boys witnessed their biological mother’s murder, via chain saw, and were left with her dismembered body in a blood-flooded shipping container for days. If you’re thinking trauma like that might make anyone into a serial killer, you’re right! Twice!When Dexter was still a child, Harry discovered the corpse of the neighbor’s yappy dog, which Dexter had buried alongside other animal bones. Accepting Dexter’s antisocial tendencies, Harry channeled those impulses into hunting — first animals, then, as Harry put it, “other kinds of animals” who have escaped justice. With Harry’s permission, Dexter killed his first human at 20, offing a nurse who was overdosing her patients.Dexter became a bloodstain pattern analyst for Miami Metro. Deb joined him there as a police officer, working first in vice, then in homicide, and in time becoming a detective. Eventually, Deb learned Dexter’s secret (walking in on your adopted brother mid-stab will do that) and later killed to protect him, which sent her spiraling. She also discovered that she was in love with him, an upsetting twist even for a show that specialized in upset.Armchair psychiatrists watching at home have diagnosed Dexter as a sociopath and a secret schizoid. Dexter claims not to feel human emotion. He lets the audience in on his real thoughts through voice-over, like this one from the pilot: “People fake a lot of human interactions. But I feel like I fake them all. And I fake them very well. And that’s my burden, I guess.” As the original series progressed, Dexter seemed to move closer to authentic emotion, maintaining friendships and romantic relationships and enjoying a close bond with Deb, even as he never lost his need to kill. He personified that predatory urge as his “dark passenger.”Is Dexter a bad person who does good things or a good person who does bad ones? Or neither? Or both? He loves a pulled pork sandwich and is surprisingly good at bowling.James Remar, left, plays Dexter’s adoptive father, Harry, who appears to Dexter in visions to remind him of the code.Sonja Flemming/ShowtimeThe CodeOnce he recognized Dexter’s death drive, Harry taught Dexter to adhere to a code. “There were so many lessons in the vaunted Code of Harry — twisted commandments handed down from the only God I’ve ever worshiped,” as Dexter put it. “One through 10: Don’t get caught.” Other rules: Never kill an innocent person. Kill only those beyond the reach of the justice system. Be prepared. Leave no trace.Dexter occasionally violated some aspect of the code. (He was caught surprisingly often. But that’s what happens when you run for eight seasons.) But he killed the wrong person only once, and he rarely lets emotions cloud his judgment. He often killed when threatened, but he sometimes refused to kill people — even dangerous or inconvenient people — when they failed to meet Harry’s criteria. He has even released a few people from his kill rooms.Dexter (Hall, with Sam Underwood) delivers a lecture to one of his many, many victims per the usual routine.Randy Tepper/ShowtimeThe RitualUnless acting in self-defense or within a significant time crunch, Dexter adhered to a specific ritual. Knocking his victims out with a synthetic opioid, he brings them to a plastic-draped kill room, decorated with photographs of their own victims. He undresses his prey, then binds them to a table with duct tape or cling wrap. Using a scalpel, he makes an incision on his victims’ cheeks, placing a droplet of their blood on a glass slide, adding the slides to his collection of trophies.Before killing his victims, whom he refers to as his playmates, he often toys with them, engaging them in conversation. His preferred weapon is a knife, but he knows his way around a saw — and an anchor, a cleaver and a pen. After the kill, he dismembers the bodies, places the parts into plastic trash bags and dumps them into the bay.Dexter at one of many funerals with his sister, Debra (Jennifer Carpenter, in plaid shirt), who . . . also later died.Sonja Flemming/ShowtimeThe DeadBy the time the original series ended, most major characters had died. There are Dexter’s direct victims, of course, a list that includes his brother, Brian; an ex-lover or two; and more than 100 others. Most of his known associates have also come to bloody ends, like his wife, Rita Morgan (Julie Benz), a victim of the Trinity Killer (John Lithgow), and several of Dexter’s co-workers, including James Doakes (Erik King), an antagonist, and Maria LaGuerta (Lauren Velez), his former lieutenant, shot by Deb in a bid to protect Dexter.Deb died, too. (More on that in a minute.) But deceased “Dexter” characters often cameo, courtesy of Dexter’s vivid imagination.Dexter said goodbye to his sister in the original series finale, and goodbye to his life in Miami.Randy Tepper/ShowtimeThat FinaleThe final season found Dexter stalking the Brain Surgeon, a serial killer with ties to a famous psychologist. The Brain Surgeon shot Deb in the abdomen. In the finale, she suffered a complication during surgery, a blood clot (way to work those metaphors) that left her in a vegetative state.Dexter had planned to escape to Argentina with his onetime girlfriend and fellow serial killer, Hannah McKay (Yvonne Strahovski), a poisoner, and Harrison, the child he had with Rita. But Dexter can’t escape himself. As a storm approached, he murdered the Brain Surgeon. With a pen! Sending Hannah and Harrison ahead, he turned off Deb’s life support and absconded with her sheet-wrapped body, which he dumped alongside his other kills. The hurricane arrived, wrecking Dexter’s boat and ostensibly killing him, too. But the final shots find Dexter in some frozen waste, having grown a lumbersexual beard and invested heavily in flannel.It’s an ending that no one saw coming. Probably because it lacked closure, retribution and attentiveness to Dexter’s journey toward personhood. Maybe the snowy new series, set in upstate New York, will provide that. More

    • 88 Shares179 Views

      in Television

      ‘Dexter’ and the Shows That Wouldn’t Die

      by

      The revival of the serial-killer drama is TV’s latest refusal to let a supposedly finished franchise rest in peace.The first thing to die in “Dexter: New Blood” is irony. The murder weapon is the subtitle.Oh, there’s blood, all right. That’s what Showtime’s righteous-serial-killer franchise promised from 2006 to 2013, and we get it in the very first episode of this revival, in snow-staining buckets. What we don’t get, in the four competent but redundant episodes screened for critics, is the “new”: any hint of a fresh creative impulse in a series that had worn itself out years before it left the air.Then again, in “New Blood,” as in so many of TV’s ubiquitous revivals, novelty is not really the point. The point is to give people more of what they already expect, by pulling out the electroshock paddles and reanimating any property with a following.You might have thought that interest in a “Dexter” comeback would have been squelched by the (supposed) series finale, a contender for the TV disappointment hall of fame. Dexter Morgan (Michael C. Hall), whose foster father taught him to channel his bloodlust into killing only the deserving, seemed to end his story by piloting a boat into a hurricane off the coast of Miami, to join his murdered sister, Debra (Jennifer Carpenter), in death. That is, until the final scene upended the closure and consequence, revealing our slayer alive and working in a lumber yard.“New Blood,” which begins Sunday on Showtime, finds Dexter living a new life — but not that one. He’s living in upstate New York (played by picturesque Shelburne Falls, Mass.) as “Jim Lindsay” (a seeming nod to the novelist Jeff Lindsay, whose “Darkly Dreaming Dexter” the series was based on). Hall’s distinctively icy delivery now has a climate to match.Jim’s a solid citizen, dating the local police chief (Julia Jones), chopping firewood, going out line dancing and working at a sporting goods store selling knives and guns. (In the original series, he worked as a forensic blood-spatter expert; “Dexter” loves its wry vocational choices.)Do we need to call it a spoiler that Jim/Dexter finds it not so easy to control the “dark passenger” that drives him to kill? That his romance with a law officer becomes uncomfortably complicated, as his relationship with the police officer Debra once was? That he still retains the knowledge of how to set up a home slaughter shack? Then consider all eight seasons of “Dexter” a spoiler, because “New Blood” gives you little that you aren’t used to, beyond the temperature.It even brings back Debra, now a taunting imaginary presence in Dexter’s mind. It’s a fun, flashy role for Carpenter, but it does little dramatically except to rehash Dexter’s past torments and manically externalize his inner state, which is already amply told-not-shown through the series’s voice-over.Jennifer Carpenter returns as Debra, Dexter’s dead sister, who is now an imaginary presence.Seacia Pavao/Showtime, via Associated PressThe newish wrinkle is the sudden appearance of his son, Harrison (Jack Alcott), last seen as a tot heading off into exile in Argentina. He is now a teenager with Dexter’s thousand-mile stare and a lot of questions.His inopportune visit, and Dexter’s worry that Harrison has inherited the dark passenger, has the potential to emotionally complicate the story. But it mostly serves as one more source of pressure in the season’s busy cat-and-mouse game. There’s also a string of missing young women in the area; a potential school shooting; and the appearance of that staple of brooding cable dramas, a Symbolic Mystical Deer.Sanguinary and superfluous, “New Blood” ends up being an example of the worst traits of two different TV eras at once.The original “Dexter” began well into cable’s antihero period, a flourishing of difficult protagonists that, at best, gave us “The Sopranos” and “Breaking Bad,” series that forced their audiences to confront the moral implications of being invested in the villain. At worst, it simply offered audiences excuses to revel in the vicarious thrill of bad behavior.For its first couple seasons, “Dexter” was a mischievously provocative narrative. It offered a funhouse-mirror reflection of gory police shows like “CSI” — Dexter was both spatter-analyzer and spatter-maker. And it invited us to wonder about the nature of morality: Was Dexter actually a moral person, or just a monster who’d learned a neat trick?But as it went on, the show gave its protagonist and its audience more and more loopholes. Interrogating the show’s premise — basically, a permission structure for the audience to have fun with a vigilante murderer — would ruin the fun. Instead, the show let you enjoy Dexter’s macabre handiwork and even cheer him on to evade capture, because his victims were evil, because without him someone would commit even worse crimes, because he was in the end a kind of victim.The new series likewise seems to be mostly comfortable as a darkly comic romp, opening with a stalking sequence set to Iggy Pop’s “The Passenger” — get it? — and quickly setting up new cartoon antagonists who are basically begging to get themselves serial-killed. The series’ promise of guilt-free bloodletting hasn’t aged well, even on ice.In the current era of TV, “New Blood” is the latest revival indulging the idea that fans always deserve to get more of the things they liked, because they can — creative dead-ends and supposedly final endings be damned. But this time at least, Dexter did not act alone.This fall brought us the “Sopranos” prequel movie, “The Many Saints of Newark,” a well-made and pointless exercise in remember-when (as Tony once put it, “the lowest form of conversation”) that allowed stars like Vera Farmiga and Corey Stoll to trot out their impersonations of beloved characters while adding nothing to the original story beyond a hint of sadness.“The Many Saints of Newark” features younger versions of “Sopranos” characters like Junior (Corey Stoll) and Livia Soprano (Vera Farmiga).Barry Wetcher/Warner Bros.Because fan bases existed and the checks cleared, we got more “Gilmore Girls,” “Roseanne,” “Will & Grace,” “Arrested Development” and “Veronica Mars,” plus the “Breaking Bad” movie “El Camino” — efforts that played on the affection for TV classics without building on them. This December, a de-Samantha-fied “Sex and the City” will return in the form of HBO Max’s “And Just Like That …”Not every revival or spinoff is a bad idea — but it needs to have an idea beyond “I want more.” “Better Call Saul” can stand with the original “Breaking Bad” because the prequel developed its own picaresque story and voice. “Twin Peaks: The Return” in many ways surpassed the original, by embracing artistic adventure rather than nostalgia.Good, bad or adequate, though, the collective effect of all these continuations and extensions is to rob finales of finality. It denies artists and audiences the power of believing that “The End” is the end. Maybe the “New Blood” season could serve as a do-over, a for-real-this-time finale for “Dexter” after its unsatisfying first try. But would anyone bet on that?Of course, nobody wants critics saying that John Updike shouldn’t return to Rabbit or Margaret Atwood to Gilead; no one wants to squelch the next “Godfather, Part II” in the name of preventing the next “Godfather, Part III.” Sometimes franchises genuinely have more creative life in them.But often they just need to stay buried. As “Jim Lindsay” says in “New Blood,” explaining why he changed his name: “Dexter had to die.” Amen, brother, and yet here we are. You had one job. More

    • 88 Shares149 Views

      in Television

      Damian Lewis Discusses the Future of ‘Billions’

      by

      In an interview, the actor talked about his character’s big twist and what it means for the Showtime series and his career.This article includes spoilers from Sunday’s Season 5 finale of “Billions.”One of TV’s last great antiheroes departed Sunday night on Showtime’s “Billions.” Bobby Axelrod, the proudly venal hedge-fund titan played by Damian Lewis, flew off into the sunset in the Season 5 finale, slipping the grasp of the law and his chief nemesis, Chuck Rhoades (Paul Giamatti), one last time on his way to a less punitive future in Switzerland.While the character’s final scene was somewhat open-ended, with Axe (as he is most commonly known) being welcomed by the Swiss authorities after fleeing America, Lewis confirmed in a recent video interview that he was leaving the show.“There’s an opportunity maybe for me to return,” he said from his home in North London. “But for now, broadly speaking, Axe has been vanquished.”Lewis’s exit ends what amounts to “easily the most time I’ve spent playing one character,” he said. The actor was previously best known for his three-season stint on another Showtime series, “Homeland.”It also comes just months after a personal tragedy. Lewis’s wife, the acclaimed actress Helen McCrory, died in April, not long after “Billions” returned from its pandemic production hiatus. Lewis shot much of his final stretch on the show remotely, from England.Over five seasons on the pulpy markets-and-machers drama, Axe embodied the culture’s often contradictory feelings about the superrich. A self-made, self-described capitalist monster, he shamelessly destroyed anything — careers, lives, entire towns — that got between him and his next billion. But he did so with enviable audacity and panache, with an equally alluring penthouse-and-private-jet lifestyle.“When I’m walking down the street in New York, it’s: ‘Axe, you the man!’” Lewis said. “He’s a really despicable human being, but no one seems to care.”That’s owed largely to Lewis, who from the beginning imbued a character that could have been a sneering caricature with emotional depth and a predatory physicality. (When he was developing the character, his acting exercises included moving about on the ground like a cheetah.) Much as Jon Hamm and Bryan Cranston made Don Draper and Walter White irresistible even when they were awful, Lewis made Axe’s financial marauding fun to watch.“Damian Lewis is not an actor who’s scared the audience is going to dislike him,” said Brian Koppelman, who is a showrunner along with David Levien. “He is willing to play the character in as caustic a manner as the character requires, and he has faith that if he’s true to that, it will connect with the audience.”But after 60 episodes of elaborate, at times inscrutable schemes, and of Chuck and Axe squaring off in various configurations, Lewis was ready to move on.“It’s difficult to keep mining, creatively,” he said. “We know who he is.”And after six years of spending months at a time in New York filming “Billions,” he plans to stick close to home and to his two teenage children after “we had a sadness in our family,” he said, referring to McCrory’s death, at 52, from cancer.It’s a subject he’s reluctant to talk about, his normal expansiveness giving way to terse responses. He wants to remain in London for the foreseeable future for “obvious reasons,” he said. “It is self-evident.”Lewis said McCrory’s death did not explain his departure from “Billions.” He initially signed on for five seasons and “always just assumed that would be enough,” he said. Koppelman said the show, which premiered in 2016, had been building toward Axe’s departure for several years.But it does explain why Lewis spent much of the last few episodes appearing remotely. Actors and crew flew to England to shoot scenes that were framed within the show as a stint for Axe in Covid quarantine. (Lewis did return to New York for part of the final episode.)“We wouldn’t ask him to come to America in that situation — right after the love of his life passed away, who was a remarkable, incredible artist and human being,” Koppelman said.Lewis’s character channeled mercenary hedge-funders in the wake of the Great Recession, embodying the culture’s often contradictory feelings about the superrich.   Showtime“It’s Damian’s private life, so it’s not really ours to comment on,” he continued. “We just feel truly, unbelievably lucky to have had five years with Damian Lewis and Paul Giamatti together.”From the beginning, the cat-and-mouse dynamic between Axe and Chuck has been the show’s defining dimension. (A close second: The abundant awkward cameos by real-life financiers and Manhattan luminaries.)When the show returns on Jan. 23 for its sixth season, Corey Stoll’s Mike Prince, who arrived this season, will be the master-of-the-universe foil for Giamatti’s ethically ambiguous lawman. The finale found Prince literally taking Axelrod’s seat, after buying his company in an offer Axe couldn’t refuse.With his carefully cultivated image and world-saving rhetoric, the Prince character has more in common with our current crop of rocket-riding billionaires than with the mercenary hedge-funders Axe channeled in the wake of the Great Recession. (Andrew Ross Sorkin, a New York Times editor and columnist who chronicled the 2008 crash in his book, “Too Big to Fail,” is a creator and executive producer of “Billions.”)“A long-running show has to evolve,” Levien said. “So it’s like a reload in a great way, at the right time.” Showtime has not yet committed to a seventh season, but Gary Levine, the network’s president of entertainment, said, “From what I’ve seen of Season 6, I’m very encouraged.”For Lewis, who is currently preparing to shoot the British Cold War series “A Spy Among Friends,” his departure from American television comes almost exactly 20 years after he was introduced to U.S. viewers, as a star of the HBO World War II mini-series “Band of Brothers,” in September 2001. It also wraps up a decade he spent mostly on Showtime, beginning with his time on “Homeland” as the soldier turned sleeper agent Nicholas Brody. (“I’ve had to say goodbye to Damian twice now,” Levine said.)An Eton-educated Brit, Lewis has displayed a remarkable knack for playing blue-collar Americans. (Axe wears his Yonkers roots on the sleeve of his cashmere hoodie.) But he isn’t sure when, if ever, he will seek out another American series.“I don’t like closing chapters,” he said. “But it does feel like it’s the end of that for now.”Lewis won’t miss playing Axelrod, he said. But he is proud that he and the writers had been able to capture something about both the allure and the corrupting influence of extreme wealth. While there are still plenty of appealingly terrible rich people on TV — “Succession” returns Oct. 17 — Axe’s particular flavor of swaggering villainy has gotten rarer in an era currently defined by the likes of Ted Lasso.“We did somehow make him a thing in the culture,” Lewis said. “And that’s always fun to achieve.” More

    • 138 Shares169 Views

      in Movies

      Head of Paramount Pictures is ousted as ViacomCBS focuses on streaming.

      by

      In 2017, Viacom turned to one of Hollywood’s most seasoned and respected executives, James N. Gianopulos, to revive its flatlining Paramount Pictures operation. Mr. Gianopulos quickly stabilized the 1910s-era studio — repairing relationships with filmmakers and producers, building a thriving television division from near-scratch, and restoring Paramount to profitability.He was ousted on Monday, with his status as the consummate Hollywood insider having curdled into a liability, at least to ViacomCBS, the conglomerate that owns Paramount, where streaming, streaming, streaming is the new currency of the realm.Brian Robbins, 58, who runs Viacom’s children’s television business, will succeed Mr. Gianopulos, 69, as chief executive of Paramount Pictures, ViacomCBS said. Emma Watts, 51, the president of Paramount’s Motion Picture Group, was notably passed over for the job.The reversal of fortune for Mr. Gianopulos, who had two years left on his contract, did not shock the movie capital, where speculation about his standing inside ViacomCBS had been gossiped about for months. Shari Redstone, who controls the company, had signaled in private that Mr. Gianopulos had become a frustration. In particular, he had, at times, resisted a ViacomCBS effort to prioritize the Paramount+ streaming service at the expense of ticket sales and theaters. Big-screen releases remain of crucial importance to studio partners like Tom Cruise, who stars in Paramount’s “Mission: Impossible” series and coming “Top Gun” sequel.Shari Redstone, the chair of ViacomCBS, in July. She has been pushing the company to prioritize streaming.Kevin Dietsch/Getty ImagesBut the ouster rattled the film business nonetheless. It was seen by some as barbarous — tradition holds that senior statesmen get to write their own endings. And it added to a changing of the guard: Ron Meyer, a longtime film power at Universal, left last year amid a sex scandal, and Alan F. Horn, the chief creative officer at Walt Disney Studios, is widely expected to retire in the coming months.Bob Bakish, the chief executive of ViacomCBS, said in a statement that the leadership change would “build on Paramount’s strong momentum, ensuring it continues to engage audiences at scale while embracing viewers’ evolving tastes and habits.” He said Mr. Robbins was an “expert” at developing franchises by “leaning into the unique strengths of new and established platforms.”Mr. Bakish called Mr. Gianopulos “a towering figure in Hollywood” and thanked him for revitalizing Paramount. In the same statement, Mr. Gianopulos recounted a list of major changes he had successfully navigated over his nearly 40-year career — such as the introduction of VCRs and online film rentals — and wished Mr. Robbins “all the very best success.”For many film industry stalwarts, Mr. Robbins is an affront to their identities; he comes from television, said while holding one’s nose. Mr. Robbins has experience as a movie producer and director. But much of the Hollywood establishment also looks down on that part of his résumé, which includes “Norbit,” a commercially successful but critically reviled Eddie Murphy vehicle from 2007. Not exactly Oscar bait.Mr. Robbins gained fame as a young actor in the 1980s by playing a mulleted rebel on the ABC sitcom “Head of the Class.” In the 1990s and 2000s he worked as a television producer (“Kenan & Kel” on Nickelodeon, “Smallville” on the WB) and a film director (“Norbit,” “Varsity Blues”).By 2009, however, Mr. Robbins started to become disillusioned with Hollywood. Younger audiences — his specialty — were living online. He began experimenting with low-budget films starring YouTube personalities like Lucas Cruikshank (a.k.a. Fred Figgelhorn) and started a YouTube channel, AwesomenessTV, aimed at teenage girls. In 2013, Jeffrey Katzenberg, who was then running DreamWorks Animation, bought AwesomenessTV for about $33 million. (Mr. Katzenberg remains a mentor.)“There is no movie business anymore!” Mr. Robbins was quoted by Fast Company as saying in 2013. “The model’s broken, and I see that as an opportunity.”Mr. Robbins was named president of Nickelodeon, which is also owned by ViacomCBS, in 2018. He has become known inside Viacom as a plain-spoken, never-say-die futurist who believes that Paramount+, the company’s relatively small streaming service, must be supercharged. Mr. Robbins has eagerly rerouted new children’s programming toward Paramount+ and away from Nickelodeon’s traditional cable channels. One such show, a reboot of “iCarly,” has been a hit for the streaming service.Mr. Gianopulos, or “Jim G” as everyone in Hollywood refers to him, will remain a consultant until the end of the year, ViacomCBS said. “Jim is nothing less than legendary in this business, and I am humbled and grateful to him for his years of mentorship and friendship,” Mr. Robbins said in a statement.Mr. Robbins will continue to lead Nickelodeon, ViacomCBS said. But he will not get all of Mr. Gianopulos’s portfolio; Paramount Television Studios will now report to David Nevins, the chairman and chief executive of Showtime Networks. More

    • 163 Shares159 Views

      in Television

      What’s on TV This Week: ‘The People vs. Agent Orange’ and Macy’s Fireworks

      by

      PBS airs a documentary about the enduring effects of Agent Orange. And the Macy’s annual fireworks display returns to New York in full force.Between network, cable and streaming, the modern television landscape is a vast one. Here are some of the shows, specials and movies coming to TV this week, June 28-July 4. Details and times are subject to change. More