As I delve deeper into the captivating world of Ryan Murphy, it becomes increasingly apparent that his journey is nothing short of extraordinary. With an impressive array of shows gracing both Netflix and Disney, he stands as a beacon of creativity and resilience in the ever-evolving landscape of television.
[This story contains major spoilers from the seventh episode of Grotesquerie.]
Viewers were taken aback by the unexpected twist in Ryan Murphy’s FX horror series, Grotesquerie, as nothing in the promotion hinted at its true nature. This was deliberate, designed to create a shocking reaction from viewers. And that shock was indeed felt when the seventh episode of the series featuring Niecy Nash-Betts aired and an extended version was released on Wednesday night.
Murphy, the co-creator, writer, and director of “Grotesquerie”, shares with The Hollywood Reporter in conversation with his partner, John Landgraf (Chairman of FX Content & FX Productions), that it’s surprising and almost unbelievable in this digital era that none of the show’s secrets were leaked.
The surprise was massive, and the presentation was extraordinary, prompting the duo to discuss their intricate strategy with Hollywood Reporter: They describe “Grotesquerie” as a suspenseful drama series filled with unexpected twists, culminating in a season finale cliffhanger that promises to ignite interest for a second season. Above all, it renews the joy of television production for the pair who have previously given audiences the anthologies like “American Horror Story”, “American Crime Story”, “American Sports Story” and “Feud”, along with “Pose” and their latest project “Doctor Odyssey”, among others.
Murphy expresses that if they can execute something similar using ‘Grotesquerie’, a show both he and John adore, which features an impressive schockaroo element and remains unreleased – it’s almost like, ‘Wow, this is exciting again. This is the essence of show business. This is why we put in the effort.’ Landgraf concurs, stating their aim was to astonish the audience, making it a shared experience in the present moment.
As a devoted fan, I uncovered an intriguing twist while immersed in the captivating world of “Grotesquerie.” It turned out that the entire narrative we had been following was unfolding within the liminal mind of our leading detective, Lois Tryon, portrayed by the talented Nash-Betts. In a stunning revelation, it was revealed that she, not her husband as we had been led to believe, has been in a coma all along, with Courtney B. Vance’s character taking on a different role. This shocking twist flips the series on its head, as characters we thought we knew – played by Micaela Diamond, Raven Goodwin, Lesley Manville, Nicholas Alexander Chavez, and Travis Kelce – take on dual roles, creating a new reality where they are fundamentally different individuals.
However, according to Murphy and Landgraf, the surprises aren’t finished yet. So get ready as Grotesquerie unfolds with its last three episodes. Below, the duo delves into THR about the distinctive release strategy for Murphy’s latest horror sensation, which they explain aligns with the current state of existential anxiety (“I really wanted everything to air before the election,” says Murphy), and discuss various topics including Kelce, pitching Taylor Swift, and why, at this stage in his career, Murphy is only seeking a challenge.
***
So the release strategy for Grotesquerie has been a bit unusual. Two episodes have dropped per week with this seventh episode and the finale, airing on Halloween eve, getting their own nights. At this point, John, do you give Ryan the runway he needs with episode length and season structure? What was the rollout strategy thinking here?
JOHN LANDGRAF We had discussions about it. We presented our ideas to our colleagues at Hulu, who are familiar with the platform and its audience, as well as handling on-platform promotions. However, in the end, we usually arrange content based on how the storyteller intends for it to be perceived, which was the case here.
Originally, we intended to introduce the plot twist earlier, which is why it appears in week four, exactly three weeks after the premiere. Later on, Ryan decided to combine episodes eight and nine, followed by episode ten (the finale) as a standalone episode. After watching episode seven, you’ll see how episodes eight and nine together effectively reset the show’s direction. Both the penultimate episode and the finale contain their own twists that further redefine the series in unique ways. Ryan seems to have planned to unveil the twist in episode nine a week after episode seven, and the finale sets the tone for the entire series, essentially leading us through a chain of revelations.
As a gamer, I’ve got to say, episode seven holds quite the surprise! But it doesn’t stop there, there are more shockers yet to come in episodes eight, nine, and ten – yes, even the finale! When it comes to TV series, I’ve seen all sorts of release strategies. Some prefer a binge-watch, others prefer weekly installments. From what I gather internally about our audience, people love the thrill of consuming content. If there are cliffhangers, they can’t wait to know – what happens next? That was exactly what we had in mind as we crafted each episode, keeping you on the edge of your seat!
Hey Ryan, in our previous conversation when you were sharing about the series you introduced this fall, you referred to Grotesquerie as “a horror tale straight from my mind.” After learning about the major plot revelation, I’m curious: What sparked your desire to turn this story into a visual production?
MURPHY To clarify, I didn’t mean a horror story in the sense of “American Horror Story,” but rather just a tale of horror. I must confess, this is something I’ve never attempted before – writing an entire season of television on my own for fun. This project, however, was intriguing to me because it allowed me to explore feelings that have been plaguing me, such as an ongoing existential question: “Is this all real? Why do I feel like every day is a recurring nightmare from which we can’t awaken?” But more significantly, you’ll find that love serves as the key to enduring these challenges.
In a time that seems increasingly cynical, I believe we’re witnessing a struggle for love and connection among people, which is something I strive for daily. After discussing this with my collaborators Jon Robin Baitz and Joe Baken, I wrote the script. Upon completion, I had nearly finished ten out of the ten episodes and presented John [Landgraf] with nine scripts. He was surprised, commenting that it was unlike anything I’d done before. As he read through episodes three or four, he called to express his enjoyment. I responded, “You haven’t experienced ‘The Thing’ yet.” I had always referred to episode seven as ‘The Thing.’ He continued reading and then called again, impressed. We decided to produce it, and the casting process started swiftly, although there was a sense of urgency. The story felt relevant not just for today but also leading up to the election. I thought it would be intriguing to air it all before the election, making it timely and pertinent to our current situation.
Have you ever thought about featuring Niecy Nash as the lead in an upcoming season of American Horror Story? Was it a concept that crossed your mind to incorporate Grotesquerie within the American Horror Story universe?
MURPHY Not at all, not in the least. It wasn’t anything like that. It’s completely distinct from that. John and I have discussed this. Others and I have too. AHS is enjoyable, it’s clear-cut, it immediately tells you what it is. This, however, is a more experimental form of independent filmmaking, made in a unique way. It was quite unlike anything before. Various filmmakers have ventured into different types of horror, but this has never been the same.
LANDGRAF In American Horror Story, there’s always a malevolent force, and the main characters usually meet their demise, isn’t that correct? The unique aspect of this series lies in its format – by killing off most or all of the cast each season, it allows for a fresh start. This approach made it challenging to create horror content within television until Ryan Murpy came up with this concept. However, this time around, none of the characters have actually died yet, as we’ve witnessed through eight episodes.
If we can trust that, technically! Is this a limited series, or do you want to do more seasons?
LANDGRAF We’re seriously thinking about expanding this further, as it’s like a set of Russian nesting dolls. You’ve just seen one doll inside another. However, there are even more dolls hidden within these, and you won’t truly understand the main reality until you reach the end. But once you do, there will be a narrative that unfolds within this reality, which is remarkably similar to our own.
What Ryan has presented so far appears as a chilling, dreamlike, almost hallucinatory reflection of our current reality. It resonates deeply with my emotions lately. I wish I could awaken from a long slumber to find out that this was just a dream. However, it seems unlikely that such an escape is imminent. Nonetheless, there’s an accurate portrayal of the world we inhabit today, revealing the underlying truths and motivations, which you will eventually encounter.
Let’s discuss the surprising ending of this series. According to some cast members who spoke with The Hollywood Reporter, not everyone knows how the season concludes. Were the scripts concealed from you, and if so, what was the significance of keeping them secret from the actors?
MURPHY Essentially, it was designed for a dramatic television series format, and that’s what it is. Consequently, we’re taking a long-term perspective, spanning multiple years.
LANDGRAF Yep.
MURPHY Here’s an intriguing aspect of how I presented my idea, who I shared it with, and the timing. I had a meeting with Niecy in November at Chateau Marmont, where we discussed it. However, I hadn’t actually completed the project yet. Following John’s reading and loving it, along with his approval, I delivered the scripts to her in January. She was already familiar with the storyline up to script number nine, so she was excitedly surprised while reading it. As she read, she would text me, “Hang on, what?” I didn’t give her much information about the plot, just saying, “Read it, I want you to be a part of it.” We’ve been working together for 25 years, so there’s an understanding between us. Each actor has a unique connection with me, and most of them have worked with me for quite some time. Courtney [B. Vance] and I had discussions about his character and how he takes control when Niecy wakes up from the coma. Lesley Manville was someone I’ve always wanted to collaborate with. She was aware of the duality aspect of her role from the beginning. Each actor knew there was a duality, although some were more informed than others based on their individual requirements. It was an enjoyable process for me.
LANDGRAF Reflecting on your query, it struck me that the concept we implemented with Ryan was essentially to astound our viewers. In other words, we intended to keep them guessing and uncover the mystery as events unfolded. No hints or spoilers were given in our promotional materials or press releases – the audience is meant to discover it on their own, moment by moment. This might be why some people are questioning whether it’s similar to American Horror Story, as they aren’t sure if it’s a standalone story or an ongoing series yet. However, I can assure you that by the end of it, you will have no doubt that this is a continuous narrative – a series, in other words.
Grotesquerie is a series with the current cast?
LORD It’s not like a typical horror series from America. Instead, it focuses on these particular characters and ends its first season with a massive, mind-blowing cliffhanger that makes you eager for more. We didn’t want to give away what was coming next. Ryan and I are always eager for something new. One of the things I’ve always respected about him is his ability to get bored easily and seek out fresh ideas. He’s revolutionized television so many times with his innovative approaches. They created “Nip/Tuck” before I even joined FX, and one reason I chose to join was because I loved it so much and found it so original. So the idea here was, “Let’s drop this into the world and let people discover it for themselves.
Was the show initially called “Snow Globe”?
MURPHY Actually, “Snow Globe” was just a pseudonym for the title. Many individuals have used pseudonyms, especially those bound by Non-Disclosure Agreements (NDAs). The fact that this information remained undisclosed in our current era of openness is quite remarkable. Every morning since our premiere, I would ask myself, “Has anyone leaked the twist in an unprofessional manner?” However, I believe everyone involved in its creation, from cast to crew, appreciated it. Maintaining secrets has become challenging in today’s media-centric world. This is why we opted not to reveal too many episodes beforehand. We only showed one or two at the beginning for Niecy to promote the opening.
However, this situation truly symbolizes my bond with John. We’ve collaborated for 21 years now, and we’ve tackled projects together that I refer to as “The Big Swings.” For instance, remember Horror Story? When I informed him that at the end of each season, we would destroy the sets and bring in new cast members. Most people might have reacted with surprise or apprehension, saying something like, “Hold on, let’s discuss this.” But John simply replied, “Alright, let’s give it a go.” (Chuckles) It was exhilarating, daring, and just a bit terrifying. And yet, we always encourage each other to take on the things that make us feel uneasy – if it scares us, we should do it. We applied this approach to O.J. [Simpson for American Crime Story]. Producing that series wasn’t a walk in the park back then; people find it commonplace today, but telling such stories was quite challenging. The same sense of novelty and freshness permeated our work on this project. I must say, there’s a big twist in there that left me pleasantly surprised.
John, how much of a risk did making this show feel like for you?
Producers Like Ryan Murphy Have a Unique Approach: Instead of casting known faces for his shows, like he did with Pose, Murphy chooses to bring in individuals who truly embody the experiences portrayed. He organizes open casting calls and searches for talented, unconventional stars. In the case of Pose, all the cast members were previously unknown, but their authenticity and talent shone through from the start, making it clear that they were perfect for the show. Before Murphy, no one had ever attempted such a revolutionary casting strategy in television production.
In the latest Grotesquerie episode, NFL player Travis Kelce, who isn’t typically recognized as an actor, is proving his acting chops. Not only does he have a significant role thus far, but now he even has two roles. How did you determine that he was perfect for this part?
MURPHY I’m really enjoying the fact that people can rewatch our show, Grotesquerie, from the beginning now. There are so many hidden details in it, like Easter eggs. We put a lot of thought into those, such as the opening shot of the first episode which is actually a hospital curtain on fire. In that same episode, all the curtains symbolize her being in a coma. You’ll find these small details scattered throughout. For instance, in the first episode, Lesley Manville has several close-ups of her eating fruit. Many viewers thought it was strawberries, but it’s actually cherries, symbolizing blood clots. So, there are numerous instances like this, and the cast was aware of these elements from the start. They all knew what they were getting into with this production.
When I brought Travis onto the team, I explained, “You’ll be taking on two roles here, almost like a guardian angel.” As you meet him, he radiates an otherworldly glow, as if he’s divine. It seems strange that we filled acres of flowers in the hospital set for his initial scene with Nash-Betts. I styled and illuminated him specifically for this part. However, when he switched roles to portray the character with the mullet who worked at Cinnabon [in this episode], he was fully engaged, insisting on details like his mullet and wardrobe. After all, Travis is quite humorous, making it a delight to work with him. It was a captivating experience collaborating with such diverse actors during that project. I believe the appeal of playing twins for actors lies in the opportunity to express two distinct personalities. Each actor eagerly awaited their second character, as they were either stark contrasts or similar but still unique circumstances.
Are you trying to get Taylor Swift for season two? Have you pitched her anything?
As a devoted fan, I’ve had the privilege of interacting with Taylor’s team over the years, and let me tell you, she’s exceptional. If given the opportunity, I would collaborate with her without a second thought. She’s truly one of the greats in the music industry. Speaking to Travis about her was quite an ordeal for me initially, but he’s been nothing but sweet and respectful. They are undeniably a pop-culture phenomenon, captivating the world’s imagination in a unique way. It’s fascinating to observe their rise. I’ve always believed that Travis could achieve this, and when he takes on a challenge, he dives right in, saying, “Let’s do this.” There’s a subtle nod to Taylor Swift in episode three, where Kelce and Nash-Betts drive off in a red getaway car, followed by a mysterious journey into a black limbo space. Although it seemed nonsensical at the time, now that you know Lois is in a coma, it all makes perfect sense!
How subtly were you giving clues to viewers with these hints, and what was your approach to balancing the editing in these episodes?
MURPHY Working closely with Max Winkler, Alexis Martin Woodall (our showrunners), and the entire team, I put in a tremendous effort. Together, we wrote the script, and then I brought them on board to breathe life into it visually. In our discussions, we grappled with deciding how much to disclose and when. There were instances where certain scenes from the script seemed too explicit, so we decided to tone them down. I aimed to create an atmosphere of discomfort, making viewers question what was happening, but without making it overt or too obvious. It needed to feel authentic. Consequently, I made some edits to scenes that I felt were giving away too much information.
Hey Ryan, just touching base with you regarding our previous conversation about the number of shows you currently have circulating globally. I’m curious to know more about any potential plans for a return to Disney and if you could share some insights from your time at Netflix. Reflecting on that experience, is there anything you might approach differently should the opportunity arise?
As a creative gamer, I’ve managed to maintain my presence across multiple platforms, striking a unique deal with John [Landgraf] and Dana [Walden]. While I ventured into exciting realms at Netflix, I never truly departed from our initial collaboration. The shows we worked on together remain a cornerstone of my portfolio. Now, as I embark on new projects like Monsters and the upcoming Grotesquerie and The Beauty, it’s all about reuniting our team, even though we never really parted ways. In essence, I’m drawn to challenges that push my limits. The production of Grotesquerie was particularly grueling, but equally rewarding. The Beauty, my next project with John, promises to be just as demanding, yet immensely gratifying. Both stories delve into distinctly American and international experiences, respectively, making them rich tapestries for exploration.
DUKE I recall when Ryan sealed his agreement with Netflix, and it was quite emotional as we had collaborated for so long – me, Ryan, and Dana. He dropped by, and we shared this heartfelt moment where I expressed my pride in him, wished him luck, and told him how much I’d miss him. The very next day, we continued working, and over the following year, we achieved more than we had in the previous one (laughs heartily). It was quite strange.
MURPHY It’s quite an extraordinary circumstance, my life and work. Yet, everyone has been incredibly gracious and laid-back about it. It’s truly a blessing to be able to engage in our endeavors, and I believe we all have experienced this in the past two years as our business model evolved and faced challenges like strikes. Working with Grotesquerie, something John and I are passionate about, which carries this unique “shockaroo” essence and has never been released before – it feels like rediscovering the joy of show business, remembering why we do what we do in the first place. That’s why!
As I continue creating my games, I can’t help but wonder if anyone knows what surprises are in store. This chat has got me pondering if the Doctor Odyssey theories are indeed valid…
MURPHY No comment on that.
***
I’m super excited to share that the next two episodes of my favorite show, “Grotesquerie,” air next Wednesday at 10 p.m. on FX. If you can’t catch it live, don’t worry! It will be streaming the very next day on Hulu. The season finale is set for October 30th – mark your calendars! Can’t wait to see how it all wraps up!
Read More
Sorry. No data so far.
2024-10-17 06:26