Shelley Duvall’s ‘Shining’ Eyes Were The Audience’s Portal Into The Overlook Hotel

Shelley Duvall had some of the most beautiful eyes in Hollywood history; Bette Davis eyes, Ella Purnell eyes, Emma Stone eyes, Anya Taylor-Joy eyes. Indeed many of her early roles counted on the sex appeal those eyes radiated. But by taking on Wendy Torrance, Duvall showed she was fully aware of her physical instrument’s full range of capabilities. The same eyes that seduced half the male cast of Nashville, say, could also be used to convince an unsuspecting audience that your son was communicating with the spirit world, that your dry-drunk husband had gotten into a spectral bottle and grabbed a weapon to wield against you, that things had gone so wrong that the world itself is bleeding. That’s a special gift, one without which — without Shelley Duvall —  the greatest horror movie ever made would be measurably less great. 

I wrote about Shelley Duvall’s tremendous performance as Wendy Torrance in The Shining for Decider.

“Presumed Innocent” thoughts, Season One, Episode Six: “The Elements”

Presumed Innocent is a good-looking show in a non-ostentatious way, and that’s true throughout this episode. Little moments like Barbara and Rusty hugging in their living room. Tommy returning home and displaying genuine, uncomplicated happiness as he hugs his adorable orange cat. Jaden clinging to Rusty almost for dear life. The almost expressionistic positioning of Rusty, Mya, Ray, and Barbara for the camera in their meeting discussing Barbara’s demeanor in court. It’s nice to feel rewarded for watching.

I reviewed this week’s episode of Presumed Innocent for Decider.

“The Acolyte” thoughts, Season One, Episode Seven: “Choice”

Let the record show it was neither my decision nor yours to spend the first six episodes of The Acolyte teasing a mystery to be revealed in the seventh. That’s the kind of decision made by a creative team confident in its choices — in ability to reveal and conceal at will, to generate fresh interest while continuing to string us along, and to deliver when the time finally comes.

Based on this week’s episode, that confidence was misplaced. Not one choice made in “Choice” proves capable of bearing the accumulated weight of the six episodes of “What really happened on Brendok on that fateful night sixteen years ago?” that preceded it. 

The script stumbles right out the gate by casting this flashback episode as a sort of alternate take on the previous such installment, which showed us the Jedi’s arrival on Brendok and the tragic end of Mae and Osha’s coven from Osha’s perspective. The problem is that nothing whatsoever is gained from shifting the focal point from Osha to Sol, or to his fellow Jedi Indara and Torbin, or to their mothers Aniseya and Koril. They might has well have simply re-aired that earlier episode, just with the cameras placed three feet to the left. That’s the revelatory new viewpoint we’re getting.

I reviewed this week’s episode of The Acolyte for Decider.

“House of the Dragon” thoughts, Season Two, Episode Four: “The Red Dragon and the Gold”

From its sobriquet on down, George R.R. Martin’s World of Ice and Fire is largely a bipolar one. Blacks fight Greens. Starks fight Lannisters. And in the prophetic Song of Ice and Fire itself, death wars against life.

The dragons flown by the Targaryen dynasty are an exception to this rule. In the source novels, various maesters and royals speculate that dragons are neither male nor female, capable of switching sexes as needed. True, they are the fire that helps turn back the ice of the Night King and his undead minions in “Game of Thrones,” and the most magnificent and awe-inspiring living creatures in the Westerosi bestiary. But they are also death incarnate, capable of inflicting carnage amid soldiers and civilians alike at an industrial scale.

And if need be, they can be called upon to kill one another, in battles as brutal as they are beautiful. There is a reason scholars within Martin’s fictional universe refer to the Targaryen civil war as the Dance of the Dragons: The conflict is as rapturous to behold as it is repugnant, often in the same scene.

I reviewed tonight’s incredible episode of House of the Dragon for the New York Times.

“Presumed Innocent” thoughts, Season One, Episode Five: “Pregame”

I recognize his reaction, because I’ve seen people react to me that way. Yeah, that’s right, call me Tommasino “Tommy” Molto, because I’ve horrified my inner circle with my self-pity. The key exchange:

TOMMY: “I’m good at what I do!”

NICO: “…Do you think I would give you this case if I didn’t think that?”

There’s a uniquely insufferable trait, and it’s one I recognize in myself, of being awarded some boon you earned from a person who respects you, yet insisting they don’t and the whole thing’s some kind of scam set up for the benefit of watching you fail. Why? Who would do this, and to what end? What is Step 2 in the Underpants Gnomes’ plan here? I don’t know! Tommy doesn’t know! But there’s a certain kind of self-pity — self-contempt is probably the right word — that insists upon this absurd premise anyway. It’s crybully behavior. It’s the mentality of a person who’s a bottomless pit.

I reviewed this week’s episode of Presumed Innocent for Decider. Good show!

“The Acolyte” thoughts, Season One, Episode Six: “Teach/Corrupt”

The episode ends admirably oddly, with Osha putting on Qimir’s helmet — it’s made from cortosis, a metal that both shorts out lightsabers and has a sensory-deprivation effect so that your only remaining sense is the Force itself, provided you can tap into it. We see her put the helmet on through her eyes, watching the world go black except a little sliver of dim light. We hear her breathe, and the credits begin to roll over the sound effect, not Star Wars-y music as has been the case…well, literally every other time I’ve watched anything Star Wars. 

I’m impressed by this willingness to break the mold, also reflected in the decision to let actor Manny Jacinto flex his full sex appeal as Qimir. Obviously, I’m impressed by all the cute little guys. But I’d be more impressed if I felt these innovations came in service of material that provided any of it with a compelling context. Evil twins, mistaken identity, “What happened?” “I’ll tell you everything” episode after episode…there’s not much to go on there.

I reviewed this week’s episode of The Acolyte for Decider.

‘Interview With the Vampire’: Ben Daniels on That Bloody Season 2 Finale

As a screen presence, Santiago needs that kind of ammo. He has to hold his own with the “big four” members of the show’s emotional quadrangle, Louis, Lestat [Sam Reid], Claudia and Armand [Assad Zaman], even though he’s not romantically or emotionally involved with any of them.

[Smiling] Is he not?

Well, well, well!

This was one of the first jobs I’ve ever done sight unseen, just because it meant working with Rolin. From the outset, Rolin called up and said, “Listen, are you OK if we don’t make Santiago queer?” I was like, “Yeah, I can sort of see it.”

But as the script started to come in, I thought the only way this level of vitriol that he has works is if he’s in love with Armand. There is this extraordinary psychological term called reaction formation, which is what Iago has for Othello. It’s a defense mechanism whereby your impulses are so unacceptable to your ego that they’re replaced by this opposite, exaggerated behavior.

Santiago finds Louis incredibly attractive. Because Armand killed Santiago’s maker — who I think he was in love with too — and also finds Louis attractive, the whole thing must be destroyed. It gave such a drive to his hatred. It was just something ruminating in myself that drove him forward in a very aggressive, mad, extreme way.

Here’s a gift link to my interview with the magnificent Ben Daniels about his delightful work as Santiago on this season of Interview with the Vampire. He was extremely gracious and generous with his time and emotion, as you’ll see. It’s one of my favorite interviews I’ve ever done.

House of the Dragon’s Ewan Mitchell Wanted His Nude Scene to Shock You

I was honestly surprised to find Aegon and his buddies still bullying Aemond during the brothel scene in this episode. Historically, bullying Aemond has not worked out very well for people.
Aegon catches Aemond in a vulnerable spot. Picking up the script for the first time and seeing those brothel scenes in episode two and three, I saw a brilliant opportunity to offer a rare glimpse of his vulnerability. You only ever see him in his Targaryen blacks, so to see him in that world — not only that, but then humiliated by his brother — is quite shocking.

When he gets up and walks out without bothering to dress first, so sure of himself even in the face of that humiliation, he seems scarier to me than when he’s riding on Vhagar.
I love that line from Michael Mann’s Heat, when Bob De Niro’s character says, “Don’t let yourself get attached to anything you are not willing to walk out on in 30 seconds flat if you feel the heat around the corner.” That’s the code his character utilizes so he’s able to maneuver around this world without getting caught by Al Pacino.

Aemond has a similar code that stops him from being hurt like he was as a kid. That’s why he’s able to walk out on the madam in that scene. He’s humiliated by his brother and all his crew, and it’s like this switch flips. The madam is no more. All of these people in front of him? They mean nothing. He stands up, he owns it. “Yeah, I’m bulletproof. Anything you say, it will not work.” Like you say, it’s scary.

I interviewed actor Ewan Mitchell about his work as Prince Aemond on House of the Dragon for Vulture.

“House of the Dragon” thoughts, Season Three, Episode Three: “The Burning Mill”

“We read fantasy to find the colors again, I think,” George R.R. Martin wrote in his short 1996 essay “On Fantasy.” “To taste strong spices and hear the songs the sirens sang.” By that standard, this week’s episode of “House of the Dragon,” a series based on Martin’s book “Fire and Blood,” is spicy fantasy indeed.

I don’t just mean the sex and nudity, though what there was of both blew my hair back on my head. For Martin, fantasy is about more than ribaldry. Describing it as a genre of “silver and scarlet, indigo and azure, obsidian veined with gold and lapis lazuli,” he goes on to write of how its very largeness, the unbounded scope of its imagination, “speaks to something deep within us.” This episode certainly spoke to something deep within this critic.

I reviewed this week’s superb episode of House of the Dragon for the New York Times. Please note that I’m going to be using gift links from now on, which will enable you to read my NYT pieces even without a subscription

“Presumed Innocent” thoughts, Season One, Episode Four: “The Burden”

Presumed Innocent is not agnostic about the morality of Rusty’s decision to cheat, no matter how far it goes to present you with his side of things. It might not work if it were less condemnatory, since the whole idea is that his hubris led to avoidable tragedy. (This isn’t The Affair, in other words.) But it’s very sharp writing by Sharr White and David E. Kelley, that’s for sure, writing that digs into some unpleasant secret parts of adult desire and validates them as real and important and capable of changing your life. For better or for worse…well, that depends on the context.

I reviewed episode four of Presumed Innocent for Decider.

“Presumed Innocent” thoughts, Season One, Episode Three: “Discovery”

First, it’s not often I recommend a show based entirely on the strength of one supporting performance, but O-T Fagbenle makes Presumed Innocent such a show. What a villain, man! Imagine being a left-wing scholar getting publicly condescended to by a prosecutor endorsed by Obama. That’s his character, and it’s gorgeously obnoxious. As a bonus you get Peter Sarsgaard as his underling Tommy Molto, who wears shirts from Dan Flashes during his off hours and says things like “You dismiss me at your peril” with total sincerity. The fact that he’s Jake Gyllenhaal’s brother-in-law makes his role as Rusty Sabitch’s nemesis that much funnier.

I reviewed last week’s episode of Presumed Innocent for Decider.

“The Acolyte” thoughts, Season One, Episode Five: “Night”

Did the Jedi really brainwash Osha into believing a lie about the arson incident? Can they brainwash people like that? Or is Mae just delusional? It may be somewhat interesting to see Sol and Mae hash this out, just as it’s somewhat interesting to meet a Sith who’s not trying to conquer the universe or topple the Republic but just be evil on his own. Somewhat interesting is fine, if you just like Star Wars and your main criteria is “Is there more of it?” I still have no idea what this show is about, what it’s trying to say, what reason it has to exist beyond those two four-letter words.

I reviewed this week’s episode of The Acolyte for Decider.

The Boiled Leather Audio Hour on House of the Dragon Week One!

Stefan and I are going weekly for the duration of House of the Dragon Season 2 with episode-by-episode, uh, episodes! We’re starting, of course, by talking about the season premiere — listen here or wherever quality podcasts are found!

‘House of the Dragon’: Elliott and Luke Tittensor on That Brutal Duel

“House of the Dragon” is a civil war story, and civil wars are often described as wars of brother against brother. Your characters make that theme literal.

LUKE Our relationship and our death were very much a symbol — not just of what’s to come, but the theme of the whole piece, really, which is family against family.

Does taking on that symbolic weight add pressure?

ELLIOTT No, because that symbol is built within our relationship naturally, being identical twins. That’s a unique relationship — unique only to identical twins, who are split-embryo. Even a twin who’s not split-embryo … not to sound disrespectful, but they’re more like a brother and sister born at the same time. An identical twin is a beautiful phenomenon of nature.

But you’re playing identical twins in the act of killing each other.

LUKE I think it helps. You’re aware of what they’re up against because of all these years of being a twin. If that was a scene between me and Criston Cole, it would probably be a bit harder. Doing it with Elliott made it easier to get there and sit in that head space. It’s naturally grounded, something you can latch onto.

I interviewed twin actors Elliott and Luke Tittensor about playing twin Kingsguard knights Erryk and Arryk Cargyll on House of the Dragon for the New York Times.

“House of the Dragon” thoughts, Season 2, Episode 2

This ability to shock — not in the gross-out sense, although this is often the case as well, but rather in the sense of a sudden, severe surprise — is the greatest strength “House of the Dragon” possesses. Civil wars are often said to be battles of brother against brother; fantasy can make the metaphorical literal. What better way to illustrate the senseless brutality of warfare than by having two men who look and sound exactly alike, who love each other, who say they are one soul in two bodies, perish in a brutal murder-suicide that achieves exactly nothing?

I reviewed tonight’s weirdly untitled episode of House of the Dragon for the New York Times.