Matthew Rhys (Perry Mason , HBO/Max)
Joshua Jackson (, Paramount+)
Paramount+’s Fatal Attraction Joshua Jackson . Right: Michael Douglas at 1402 in the movie. Michael Moriatis/Paramount+; Paramount Mon/Courtesy Everett Collection Before reading Alexandra Cunningham’s expansion of Fatal Attraction, Joshua Jackson was interested in playing Michael Character created by Michael Douglas in
casts doubts. “Honestly, it feels like a trap,” he said. When Cunningham explained that her version was not a retelling but a starting point, Jackson was intrigued. “What fascinates me is that men, especially white men, are in a time of crisis right now. I’ve played several characters who struggle with power and privilege, and when it’s pushed back, [they] lash out in toxic ways, “He said. “Dan Gallagher is a fragile product of the modern male sense of self. When that self-construction is jolted a little bit, he starts to struggle.” What immediately stands out about Dan Gallagher is the evolution in culture and storytelling. “I don’t think a lack of remorse for an affair is useful d),” Jackson said. “When he tells his wife, she’s going to hold him accountable for that, and to me, that’s the crux of [the show].” Despite the modern lens and wider canvas, he doesn’t quite shake Douglas’ avatar. “I wanted to embody the swagger and charisma of Michael Douglas, because it was an interesting contrast to what Dan looked like after he was incarcerated.” Jackson knew how people received his character was out of his control—and he knew who was watching, too. “I bumped into Glenn Close before we started, and what she said basically boiled down to: ‘Don’t screw it up.’ I like straight women. ‘Yes, ladies, we’re going to try not to screw it up.'” ” ”
Fionn Whitehead ( Great Expectations
point Fionn Whitehead on FX/Hulu’s Great Expectations . Right: Illustration of Pip from a novel by Charles Dickens. Parry Dukovic/ FX; Chronicle/Alamy Stock Photo Fionn Whitehead may not have read Charles Dickens’s classic novelGreat Expectations before getting the chance to play Pip, but that doesn’t mean By 20-year-old is not feeling the pressure of his legacy. “You’re immersed in a piece of literature that everyone adores,” he said. Whitehead’s initial decision not to watch the previous iterations would be the solution to creating his own version of The Orphan, who tries to rise above his class through a wacky apprenticeship. “I don’t want to copy other people, so I try not to study any of them,” he said. “But I did watch a few versions in moments of weakness.” For Whitehead, the best way to create a well-known character is to take inspiration from Steven Knight’s script, whose candid exploration of class gives Gives Pip and his cohorts a little modern edge. “Steven said that when Dickens was writing, he couldn’t talk about a lot of things because of social norms, and Steven wrote all the annoying little details,” he said. “Pip also has an element that is generally related – young people not talking about their feelings and thinking they need to stand on their own two feet without any help. That really connects with me, seeing There are people who go through this and struggle because they haven’t figured out that we all need each other.” Add in the modern language and a diverse cast, and it’s not hard to see how this production is distinct from its predecessors. “With period dramas, you sometimes create a bit of a disconnect. It was important to me to make sure people could relate to Pip in a non-dissociative way,” he said. “To really get the audience into what the characters are going through, sometimes you need a touch of modernity.” This story first appeared in the June standalone issue of The Hollywood Reporter Magazine. To receive the magazine, 1987 click here to subscribe .