Witherspoon is entertaining, but the role — a feisty woman plucked from the sticks to be made-over into a network face — is unclear. As Alex liberates herself from the network patriarchy, Bradley at times seems to be falling in with it.
Perhaps the mixed signals of the first three episodes will resolve as the season — and the second season, already ordered — proceed. I wanted to make these timeless stories. I had literally hundreds of ideas. I probably cut ideas into these five. The challenge is finding the ones that will speak to people the most. Interview has been edited and condensed.
Dana Gerber can be reached at dana. Carell is in agreement that less is more, and he backed off from portraying du Pont as eccentrically as the man was rumored to be in real life. I think sometimes what is not spoken is so much more powerful.
Or not pointed to, or gently alluded to, as opposed to laying it in your lap. All this causes one to wonder: What drew Miller to Carell in the first place, and what made Carell think he could make the leap?
The answers seem to be intuition and faith. For Miller, casting against type — against our expectations of who Steve Carell is — were part of the choice. Nobody expected du Pont to do the thing that du Pont did. He, too, was mistaken for having a mushy center. My friend has a point. The latter got him an Oscar nomination and featured him with, uh, a prosthetic nose.
The cliche goes back to Pagliacci and beyond, but it gets started early in film history with Charlie Chaplin, who conquered the planet through laughter in the early Silent Era, was quickly acclaimed as an artist, and — to his glory and detriment — came to believe it.
Hoo boy.
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