As a theater artist who has recently ventured into the world of television, I find myself constantly grappling with questions about the nature of reality, dreams, and our pursuit of understanding ourselves. It’s fascinating how we as humans tend to elevate our dreams to an ethereal plane, when they hold just as much weight in our lives as the world around us. This is a question that resonates deeply within me, much like the shrooms experience you mentioned, albeit without the psychedelic effects!
[This story contains spoilers from episodes eight and nine of Grotesquerie.]
After the stunning twist unveiled on FX’s horror series Grotesquerie, episodes 8 and 9 (aired consecutively this week) delved deeper into the intricate universe crafted by Lois Tryon (Niecy Nash-Betts) during her coma-induced dreaming in a liminal state. The storyline unfolded with the appearance of Dr. Whitcomb (Santino Fontana), who shared with Lois’ daughter Merritt (Raven Goodwin) his ambition to progress coma communication research, hoping it would lead to ways to rouse those trapped in such a state.
While Dr. Whitcomb guides Lois through her self-crafted personas based on her real-life acquaintances, a shocking twist unfolds: a malevolent doppelgänger arises, mirroring the grisly murders that once haunted Lois’ dreams. In a bizarre turn of events, I find myself teaming up with Megan (Micaela Diamond) once more, as we delve into this chilling enigma. Simultaneously, we grapple with the profound impact Lois’ projections have had on our self-perceptions.
Diamond expresses, ‘We’re all grappling with a lot of shame,’ in our conversation with The Hollywood Reporter. What I find fascinating about these episodes is their inability to handle it, much like humans.
Before next week’s season finale, Diamond spoke with The Hollywood Reporter about her interpretations of the symbolism behind the serial killer known as Grotesquerie, the intricate dynamic between Lois and Megan, and what viewers can expect from the climactic plot unraveling in Ryan Murphy’s FX series that keeps surprising with twist after twist in the horror genre.
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How did you come to be cast in Grotesquerie?
In my case, I submitted a self-recorded video, similar to what other candidates did, and surprisingly received a call from the casting director asking me to travel for an on-screen test with Ryan. Upon arrival, we were both in a room where I read the first two scenes. He then posed a question, “Do you know about the plot twist?” To which I confessed my ignorance, as I had only received the initial script. He proceeded to share details about the series and the roles I might play. It was like listening to someone talk about a TikTok for 10 minutes – I wasn’t actually visualizing it, but absorbing all the information shared. After that, he asked me to perform again with the newfound knowledge. I requested a brief moment to prepare, and then gave another take. The interaction felt collaborative, as if we were jointly exploring the character’s depth and her potential creepiness. I ended up getting the role a few days later. It was an ordinary audition experience but with someone of such high caliber in our industry, and I was quite anxious throughout.
You’re one of the lucky ones. Some of the cast members didn’t know about the twist to the story.
Absolutely, we received scripts while filming, particularly for episodes eight, nine, and ten (the finale); we typically had about a week before commencing shooting for each of those installments. Consequently, there was a substantial amount to process, but it was thrilling for our team to unite and share excitement like, “Have you read the next script?” We’d discuss these scripts in the hair and makeup room, speculating theories about what viewers might think. Our assumptions turned out to be incorrect.
What intrigued you most about playing Sister Megan and then Megan, the police chief?
For quite some time, nuns have kept audiences captivated, particularly within the Ryan Murphy universe. There’s an abundance of stories that I’ve found fascinating to watch. I think of Meryl Streep and “Doubt,” as well as the tales of The Magdalene Laundries. In Sister Megan, there was a chance to discover humor in her dual roles as both a journalist and a nun, which are not typically associated. I respect her courage to scrutinize the deeply troubling world she inhabits, believing it will inspire faith. And I believe this conviction is valid. My best friend recently lost her younger brother, and we’ve found a new sense of spirituality in our lives as a result. It’s that belief that even non-believers might pray during desperate moments, like on a crashing plane. Sister Megan seems to understand that such a dynamic will occur in this small town and uses it to her advantage. She orchestrates the situation, drawing people together, much like a pastor would.
Despite the revelation that Sister Megan and Father Charlie’s true identities are fictitious, the abundance of religious symbols in the series is noticeable. Will these symbolic elements play a significant role in shaping the ultimate plotline?
Absolutely. The killings in this game bear a chilling resemblance to real-life cases, even in levels nine and ten. It’s as if the creators have meticulously studied the crime scenes frame by frame, recreating the same shock and horror I felt when I approached the Burnsides’ house and found the baby in the pot. I can’t help but ponder how players will react to the finale, a twist I can’t reveal just yet.
In episode seven, the altercation between Sister Megan and Lois appears to reflect Megan’s perspective on their bond. Despite Megan’s efforts to persuade others that they aren’t rivals, and that Lois was more like a mentor to her, it leaves us wondering about the genuine nature of their relationship. What do you suppose their true connection is?
I find mentorship to be a complex issue, as it often involves a younger, eager individual encountering someone more experienced in a flawed profession. This dynamic is illustrated in the relationship between Megan and Lois. It’s clear that Megan respects and admires Lois, having learned a great deal from her. However, the weight of Lois’ near-death experience seems to have placed an additional burden on Megan. During Lois’ coma, it’s likely that various emotions surfaced, including resentment. Megan was left to handle the remnants of Lois’ life when she was struggling with alcoholism.
In these episodes, we’re all grappling with feelings of shame, something that none of us – not even characters like Lois – seem to know how to handle effectively. What intrigues me is the way these narratives mirror our own struggles, as they too search for answers without a clear solution. For some, this quest might lead them to therapy, while others may find solace in their faith. Intriguingly, Lois seeks understanding through Dr. Whitcomb, who interprets her dreams, much like how we all try to decipher our own inner thoughts and emotions on a daily basis.
I strongly believe she served as my guide. I hold her in high regard and am struggling to find my footing without her guidance, honestly. And it seems this uncertainty is causing complications in our interactions and bond. However, she continues to support me when I reach out. I suspect she has faith in my abilities and cares for me deeply. Furthermore, the portrayal of a powerful woman excelling at her job but struggling with abuse at home mirrors an intriguing narrative on TV, much like Lois who was strong in her profession yet grappled with alcohol addiction. It seems we all harbor secrets and struggles that drive our actions, as there’s often something hidden beneath the surface.
I found Sister Megan and Father Charlie’s partnership equally fascinating. Could you tell me more about your collaboration experience with Nicholas Alexander Chavez?
We thoroughly enjoyed ourselves during the filming process, particularly when we encountered each other just before shooting the significant diner scene in episode two. This scene was crucial for our characters, and I vividly recall diving headfirst into it. As actors, there are moments when you must do exactly that, and I believe this approach benefited our performance. Since we were not acquainted, it allowed us to guess, interact, listen, and react – the essence of acting. He was quite adventurous and eccentric, making it simple for me to respond with curiosity, wondering, “What’s going on with this character?
In episode eight, as the researchers discuss Grotesquerie being a symbol of personal perspective with Lois, I found myself pondering: Could each one of us possess our own Grotesquerie? Is that the unique interpretation we’re drawing from this story?
This series intrigues me because I’ve always perceived it as a portrayal of morality, a theme that seems to be humanity’s constant struggle. Characters are trapped in their personal journeys, driven by desires, aspirations, and sometimes cruelty, all within the confines of good and evil. It seems each character grapples with this question or carries a burden of shame related to it. I find the concept intriguing that this existential dilemma is depicted as something lethal in a dream, symbolizing how overwhelming it can feel during specific life moments. Re-entering the real world of the last few episodes allows us to observe each character’s pursuit, adding an engaging layer to the narrative.
Have discussions ever taken place about creating separate series or stories that delve into the inner thoughts of each character?
In the hair and makeup trailer (laughs). I have no idea. I don’t have that much power here.
How does the show explore significant topics, such as episode nine’s portrayal of societal regression due to reduced social interaction and increased reliance on technology? In your opinion, what might be the intended message or meaning behind this series for viewers?
I believe the last three episodes delve into some intriguing questions about why she created these characters in such a manner, and as she re-enters reality, it leaves her pondering if causing pain to those around us is justified in the pursuit of self-understanding and scientific advancement. What intrigues me about this is that I belong to a generation heavily influenced by therapy, and there’s a part of me wondering, do we always have to probe so deeply? Must we dissect every motivation in life? Will such introspection truly benefit us, or are we merely seeking narratives instead?
And the secondary thing that I think the first half of the season is asking is, are our dreams less important than our reality? Why do we as humans frame our dream state as so ethereal or impressionistic when they’re so real to us? We’ve all woken up from one that has just startled us, and I have always wondered about that. I’ve done surrealist art, so I’ve had to question myself when it comes to those things. And I do find it incredibly interesting how I make a hierarchy for realities. That’s a shrooms question rather than for a magazine (laughs), but I do find it interesting.
Regarding past work, Niecy Nash mentioned to THR that one of her favorite scenes was when we sang in the car in the desert with you, and she appreciated merging your stage background into the series. Could you describe your experience of this scene and overall feeling of taking on your first significant TV role?
It was truly a wonderful time, and I must say, Niecy found me quite intriguing from the start. On our very first day, she asked, “Who are you, and where did you emerge?” I believe the stark contrast between us significantly enriched our on-screen chemistry. Off-screen and on the show, we’ve served as perfect counterparts, a fact we leveraged to great effect. I’m thankful that Ryan included that scene in the script after I was chosen for the role because theater has always been my one true love. It was my first love, and it will forever remain so. Filming this TV show has been an exceptional experience, as it offers a unique perspective that feels like cross-training to me.
In television, the final product isn’t solely yours; it passes through numerous hands – editors, producers, directors, and ultimately, viewers. But in theater, you carry a significant burden of telling the story each night, and that sense of responsibility can be liberating because it allows me to relinquish control. I’ve found joy in allowing others to shape it. The focus shifts from the performance itself, repeated eight times a week for two and a half hours, to the act of creation and the process of shaping the work. This shift is exciting in its own right. I’ve cherished the opportunity to show up and offer something unique every day, to challenge myself, and to embrace such an unusual role.
In the previous year, I portrayed a Southern Jewish woman whose husband was lynched in Atlanta, Georgia, in the production of “Parade.” It’s incredible luck to have had the opportunity to play such diverse characters based on religion and gender. The best part of this experience is working alongside incredibly gifted individuals. Last year, I shared the screen with Niecy Nash, while the year before I worked with Ben Platt. I’m just trying to absorb as much knowledge as possible in my career. I still consider myself a student to the craft, having not yet accumulated the 10,000 hours of experience on film sets that I have on stage. This is a daunting endeavor for me, but I feel more comfortable on stage.
What can you tease, if anything, about next week’s finale?
It’s my belief that we’ll keep witnessing the intricate tension between Lois and Megan, and I genuinely hope this persists. To be honest, I adore their scenes together. However, get ready for some gruesome and bloody moments, which I believe will catch you off guard.
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The show “Grotesquerie” concludes this Halloween, October 30th, at 10 p.m., airing on FX (with streaming availability the following day on Hulu). Check out THR‘s exclusive interviews with Murphy, Landgraf, and Nash-Betts regarding the surprising plot twist, as well as other insights.
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2024-10-25 23:25