Entertainment
Robin Wright and Olivia Cooke 'go feral' in 'The Girlfriend.' But who's the real villain?
This article contains spoilers for the finale of Prime Video’s “The Girlfriend.”
After reading the pilot for “The Girlfriend,” Robin Wright could see how the entire series would unfold. She was initially approached to direct the first episode, but she was so entranced by the adaptation of Michelle Frances’ 2017 novel she came on board not just as a director, but as an executive producer.
And when it came to casting Laura, a fierce matriarch committed to protecting her son, Daniel, from his new girlfriend, everyone she pictured in the role was unavailable.
“My dream was Tilda Swinton,” Wright says, speaking from the Ham Yard Hotel in London alongside her co-star Olivia Cooke, whose Prime Video series premiered Wednesday. “The time crunch was getting narrower, so Jonathan Cavendish of Imaginarium [Productions] finally said, ‘Would you consider playing Laura? You know her so well.’ What interested me was expanding on each character and developing this show beyond the book, which was already very full and rich.”
Cooke was Wright’s first choice to play Cherry, Daniel’s working-class girlfriend, who may or may not have suspicious motives and a violent past. The actors hopped on a Zoom call at the end of 2023 and were immediately on the same page about the thriller series. Both were intrigued by the idea that each episode depicted the characters’ individual takes on the events, forcing viewers to frequently change their allegiance about who is right. Is Cherry deviously trying to push Laura aside for better access to Daniel, or is Laura paranoid and overbearing?
Cherry (Olivia Cooke), Daniel’s working-class girlfriend. (Christopher Raphael / Prime)
Laura (Robin Wright) is suspicious of Cherry and her motives. (Christopher Raphael / Prime)
“I was enticed by the dual perspectives and delving more into that reality because that is how we operate,” Wright says. “That is the human condition. You perceive [something] in a different way than I do. We’re all a hero of our own story and of our own perspective, but we could be the villain in someone else’s perspective. That’s what happens with Cherry and Laura. Jealousy turns into a power struggle.”
“It’s really fun to dial up the maliciousness and the duplicitous nature of a woman,” Cooke adds. “To play all these different sides and all these different faculties. And both our characters contain them all.”
“It was almost like having the variety pack of being a female,” Wright continues. “It’s easy for the viewer to go back and forth, where you’ll be in favor of this one and then not in favor. And it’s always rooted in true emotion. Wherever Laura or Cherry is coming from, that’s her truth. That’s her story.”
“You’ve always got to champion the characters you’re playing in order to play them honestly,” Cooke says. “I completely understood where Cherry was coming from. A lot of that is lack and fear and scarcity. Not having a parachute or a safety net, and having to constantly strive and move forward. She’s a survivor and she’s scrappy, and she will be the quickest and most ferocious to her own defense.”
The conflict between Laura and Cherry aggressively ratchets up over the course of six episodes. After a rock climbing accident that puts Daniel (Laurie Davidson) into a coma, Laura convinces Cherry that he’s died. Cherry later threatens Laura with a knife — or does she? Cooke says she loved “having the excuse to go f— feral.”
“What’s fun about Laura’s perspective is Cherry seems completely unhinged and that there’s a real malevolent undertone to her behavior,” Cooke says. “But in Cherry’s perspective, it’s all coming from a place of just scrambling. She’s tried to put her best foot forward when she meets Laura for the first time and she’s tried to cover up her past a little bit by saying the odd white lie. And a mum sniffs that out immediately.”
“What’s fun about Laura’s perspective is Cherry seems completely unhinged and that there’s a real malevolent undertone to her behavior,” Olivia Cooke says. “But in Cherry’s perspective, it’s all coming from a place of just scrambling.”
(Jennifer McCord / For The Times)
Cooke describes Cherry as an “underdog trying to claw herself up.” “I want the audience to really be of two minds about her,” she says. “And women usually have to be so buttoned up.
“It’s always, ‘You can’t say that or don’t emote that,’” Wright chimes in. “This gave us an opportunity to do what a lot of women would like to say or do, but they can’t. You always have to be a diplomat. This was about being a human being. Women are very layered individuals. We can do 16 things at once. That’s why we can carry children for nine months and then raise them. I wanted to show all of those colors of a woman.”
The role gave Cooke the chance to showcase her range and expressiveness.
“Even just for my own personal life, it felt really cathartic to be able to be angry and be able to scream and be a person who wears their emotions so closely to the surface,” Cooke adds. “Cherry is effervescent. It’s always there waiting to come out. She’s so reactive. And I’m hypervigilant for the warning signs before I react. This was like a rage room.”
In the tumultuous finale, Laura drugs Daniel to keep him away from Cherry. After Cherry breaks into Laura’s house, the duo find themselves in a physical altercation in the basement swimming pool. An addled Daniel discovers them fighting and jumps in to protect Cherry, accidentally holding his mother under the water for too long. The immediate interpretation is that Laura dies at the hand of her son, which is what the actors shot on set in London last year.
“There was an aerial shot of mom dead in his arms,” Wright says. “It was beautiful. He was holding her and he looks at Cherry and mom was dead in his arms in the way I had held him in Spain. But the [producers] cut it out because it showed that she had died.”
Laurie Davidson, who plays Daniel, and Robin Wright in a scene from “The Girlfriend.”
(Christopher Raphael / Prime)
The decision to have Daniel accidentally kill (or not kill) Laura resulted from a “big discussion,” as Wright puts it. The obvious conclusion was to have Cherry purposefully murder Laura, but Wright pushed against that.
“I said, ‘It needs to be the son that kills his mother because he will never get out of her clutches when she’s alive,’” Wright says. “He’s going to be in the middle of this war zone for the rest of his life. When he comes down [to the pool], he’s in a stupor. He’s almost hallucinating. When he dives in the pool and he sees [Laura] trying to drown his girlfriend, he doesn’t know what’s happened prior to that moment, which is she’s tried to kill mom. He has no sense of time and space because he’s under the influence.”
Cooke says she didn’t play the scene as Cherry wanting Laura to die. “Maybe people will read it as that, but I didn’t,” Cooke says. “She knows it’s gone too far. That’s what I played in the moment, shouting at Daniel to snap out of it. But, you know, she did get the house.”
Shooting the pool altercation was a challenging day. Much of the series was filmed in a private house in London’s St. John’s Wood neighborhood, which had an actual swimming pool in the basement. Although the pool was supposedly heated, the actors didn’t experience any warmth.
“It was f— hard,” Wright recalls. “For me, it was like waterboarding. People think, ‘Oh, my God, so much fun to act in those scenes.’ No, it’s not. It’s really tough. We were all drowned rats and freezing cold.”
Still, Cooke says it was enjoyable to go to such intense limits emotionally.
“It’s fun being able to go to the very edge of your emotional capacity in a very safe, fun, embracing environment,” she says. “We wouldn’t have been able to do that in the pool, and be able to try and murder each other and then laugh, if it wasn’t built on trust and love. … These characters do very heightened, crazy stuff, but it’s still seeped in honesty and naturalism, which you need in order to go on this journey.”
Robin Wright recalls how difficult shooting the pool scene was: “For me, it was like waterboarding.” Nevertheless, Olivia Cooke says it was “fun being able to go to the very edge of your emotional capacity.” (Jennifer McCord / For The Times)
At the end of the finale, Cherry and Daniel move into Laura’s mansion with the blessing of Daniel’s father, Howard (Waleed Zuaiter). Daniel discovers a voicemail from Laura recounting how Cherry’s mother, Tracey (Karen Henthorn), warned of her daughter’s malicious motives. But while Daniel is clearly in trouble, Wright says you’re not necessarily meant to interpret it as Laura being completely out of the picture.
“We wanted to leave it a little bit open,” she says. “You see the pregnant family living in the Sanderson house and mommy’s gone. Could Laura still be alive? Did she really die? Has she just been shunned to the priory?”
Wright says they wanted to leave it to the audience to decide what happened.
“But Daniel is awakened,” she adds. “If Laura is alive, he could go back to her and say, ‘I now believe you and now I’m with a crazy woman and afraid she’s going to kill me in my sleep.’ There are many iterations where it can go if there is a Season 2.”
As of this interview, no announcement has been made about another season. Cooke, who also stars as Alicent Hightower in “House of the Dragon,” says she would have to get permission from HBO to be part of a concurrent episodic series. Plus, as Wright notes, it’s all about the algorithm. “You always have to wait and see if it’s a semi-success,” Wright says. She adds, turning to Cooke, “If there is a Season 2, I think you should kill the cat in Episode 1, gut it and wear it as a hat.”
For Wright, that’s part of the appeal of being an executive producer — she could brainstorm all the unhinged things that could happen between the characters. She loved coming up with story ideas and character backgrounds, and helping to sculpt the ending, which differs from the novel, was pure joy.
“This was my first opportunity to develop something from the ground up,” says Robin Wright, who executive produces and is a director on the series. “I took a bunch of personal stories, things that I’ve heard, and threw them in there.”
(Jennifer McCord / For The Times)
“This was my first opportunity to develop something from the ground up,” Wright says. “I took a bunch of personal stories, things that I’ve heard, and threw them in there. Like Laura kissing her son on the lips — that came from a friend of mine. And Laura spraying Cherry with her perfume in a shop and saying, ‘Daniel loves this,’ came from someone on set. Things were constantly percolating.”
Wright directed the first three episodes, setting the visual and thematic tone for the series, while Andrea Harkin took on the latter three. The actor says there was a real freedom on set, which was helped by the rehearsals the cast was able to do before filming. She made it a point to always give the actors their own take for each scene.
“Generally, I’d use the take where they went for a free-for-all,” she says. “You get locked in a box as actors. We all do. You pick a choice and you stick with that choice. But when you throw that out the window, the s— that comes out of actors is amazing. That’s what’s so beautiful about being able to direct and being an actor myself. I love watching how it evolves and the light that comes out of them and the emotion that’s brought to the surface.”
“I’ve never acted opposite my director before,” Cooke adds. “The chain of command was so short. Robin was acting with me, but also watching to see what I do and changing her performance to my reaction, which was amazing. It makes it very alive and kinetic.”
Ultimately, it’s up to the viewer to decide whether Laura or Cherry is the villain of “The Girlfriend.” And, as Wright says, it’s simply a matter of how you see things.
“You as the viewer get to decide: Is there a truth, or is it just subjective?” she says. “Because it is subjective for each of our perspectives and we own it. It happened the way you personally know it happened. But the truth lies somewhere in between.”
Only a few years ago, Keith Lee was a professional MMA fighter, doing food delivery and making social media videos to ease his social anxiety.
On Thursday night, however, Lee found himself under the glare of bright lights and walking the red carpet outside the historic Hollywood Palladium on Sunset Boulevard about to be recognized as TikTok’s “Creator of the Year.”
He and hundreds of other creators had gathered for TikTok’s first American awards show. And they had good reason to celebrate.
Only a few minutes before the start of the inaugural show, they got word about a deal that would allow TikTok to keep operating in the U.S. through a joint venture controlled by a group of U.S. investors that includes tech giant Oracle Corp. TikTok confirmed the deal in an email to employees and said it is expected to close next month.
“[TikTok] is the best way to reach people and I know so many people who rely on it to support their families,” said Lee, who has 17.3 million followers of his casual restaurant reviews. “For me, it’s my career now so I can’t imagine it not being around.”
Creators — many of whom are based in Southern California — rely on the app as a key source of income, while businesses and brands turn to the platform and its influencers to promote their products.
Many had worried that the app might disappear after the Supreme Court upheld a ban on the platform because of national security concerns raised by President Trump in 2020.
Trump subsequently allowed TikTok, which has offices in Culver City, to keep operating in the U.S. and in September signed an executive order outlining the new joint venture.
Comedy creator Adam W., who attended the awards show, called the news “game changing.”
With 22.6 million followers on TikTok, Adam W. has amassed a massive audience for his videos that parody pop culture trends.
In one, he’s a contestant on “The Bachelor,” surrounded by a line of lookalike blond models; in another, he’s drinking matcha lattes with Will Smith.
“That’s so good to hear,” said Adam W. of the new ownership. “So many people are able to make careers off of TikTok. There’s so many people out there who go to TikTok to get away from their reality and it means a lot to them, so I think it’s really valuable for us to have.”
TikTok said the awards show is intended to celebrate the influencers who’ve helped transform the app into a global force that has shaped the way younger Americans shop and consume entertainment.
“You represent a truly global community of over 1 billion people on TikTok,” Kim Farrell, the app’s global head of creators, said at the event. “This year, you showed the world just how much impact creators have.”
Despite the historic moment, the awards show was not without technical glitches. Screens that were intended to display clips of contestants and visuals during speeches were dark the entire night.
The two-hour show, in which creators received awards in several categories, featured a range of skits parodying TikTok cultural moments, from Jools Lebron telling the crowd to “be demure,” to Rei Ami of K-Pop Demon Hunters shooting a Labubu cannon into the crowd.
“TikTok definitely changed my life,” Lee said in an interview. “I always planned my life around food, so I’m blessed to just turn the camera on and do the same thing.”
The new ownership of TikTok should allow the app to rebound after it lost market share amid uncertainty over its future, said Max Willens, an analyst at EMarketer.
“This past year, because a lot of advertisers weren’t really sure whether TikTok was going to stay or go, it did kind of slow the momentum that we had seen on that platform,” Willens said. “We think that moving forward that is going to wind up just being a blip.”
NEW YORK (OSV News) – “Avatar: Fire and Ash” (20th Century), the third film in the always visually rich franchise that got its start in 2009, brings forward thematic elements that had previously been kept in the background and that viewers of faith will find it impossible to accept and difficult to dismiss. As a result, it requires careful evaluation by mature movie fans.
Against the recurring background of the fictional moon Pandora, the saga of the family whose fortunes were chronicled in the earlier chapters continues. The clan consists of dad Jake Sully (Sam Worthington) and his wife Neytiri (Zoe Saldaña) as well as their three surviving children, teens Lo’ak (Britain Dalton) and Kiri (Sigourney Weaver) and tyke Tuk (Trinity Jo-Li Bliss).
Rounding out the household is Jake and Neytiri’s adolescent adopted son, Spider (Jack Champion).
As veterans of the earlier outings will know, Jake was originally a human and a Marine. But, via an avatar, he eventually embraced the identity of Neytiri’s Pandoran tribe, the Na’vi. While their biological kids are to all appearances Na’vi — a towering race with blue skins and tails — Spider is human and requires a breathing mask to survive on Pandora.
Lo’ak is guilt-ridden over his role in the death of his older brother, Neteyam (Jamie Flatters), and wants to redeem himself by proving his worth as a warrior. Kiri is frustrated that, despite her evident spiritual gifts, she’s unable to connect with Eywa, the mother goddess the Na’vi worship.
For his part, Jake is worried about Spider’s future — Neteyam’s death has left the still-grieving Neytiri with a hatred of the “Sky people,” as Earthlings are known on Pandora. He also has to contend with the ongoing threat posed by his potentially deadly rivalry with his former Marine comrade, Col. Miles Quaritch (Stephen Lang), who is also Spider’s estranged father.
As if all that weren’t enough, a further challenge arises when the Metkayina, the sea-oriented Pandorans with whom Jake et al. have taken refuge, are attacked by the fierce fire-centric Mangkwan, led by Varang (Oona Chaplin), a malevolent sorceress. A three hour-plus running time is required to tie up these varied strands.
Along the way, the religion adhered to by the main characters becomes more prominent than in previous installments. Thus Eywa is both present on screen and active in the plot. Additionally, Kiri is revealed to have been the product of a virginal conception.
Director and co-writer (with Rick Jaffa and Amanda Silver) James Cameron’s extension of his blockbuster series, accordingly, not only includes material uncomfortable at best for Christians but also seems incongruent, overall, with monotheistic belief. Even well-catechized grown-ups, therefore, should approach this sprawling addition to Cameron’s epic with caution.
The film contains nonscriptural beliefs and practices, constant stylized but often intense combat violence with brief gore, scenes of torture, narcotics use, partial nudity, a couple of mild oaths, at least one rough term, numerous crude and a handful of crass expressions and an obscene gesture. The OSV News classification is L — limited adult audience, films whose problematic content many adults would find troubling. The Motion Picture Association rating is PG-13 — parents strongly cautioned. Some material may be inappropriate for children under 13.
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Entertainment
‘It was by the kids, for the kids’: Chain Reaction’s former booker reflects on the O.C. club’s legacy
My name is Jon Halperin. I booked and managed Chain Reaction from 2000 to 2006. It started by accident while I was running a one-person record label. I went to the club to see the band Melee perform and the prior talent buyer for the club had just quit that day. I told owner Tim Hill I’d do it (having only booked three shows ever at a coffee shop). We slept on it, and I was hired the next day.
I joined Ron Martinez (of Final Conflict). He was booking the punk and hardcore shows. I booked the indie, ska, emo, screamo and pop punk stuff. We made a great team. Best work-wife ever.
Story time. My friend Ikey Owens (RIP) hit me up and told me that he and the guys from At the Drive In were going to be starting a new band. I’d booked Defacto (their dub project) before, and we agreed to throw them on a show and just bill it as “Defacto.” There were maybe 200 people there to see the first show for a band that would soon be known as the Mars Volta.
That wasn’t out of the ordinary. Chain Reaction had many artists grace that stage that went on to bigger things: Death Cab for Cutie, Avenged Sevenfold, Maroon 5, Fall Out Boy, Panic at the Disco, Taking Back Sunday, Pierce the Veil, My Morning Jacket. The list goes on and on.
Jon Halperin, who booked Chain Reaction from 2000 to 2006, stands in front of the club during its heyday.
(From Jon Halperin)
I used to make a deal with the kids. Buy a ticket to “X” show, and if you didn’t like the band, I’d refund you. I never had to. I knew my audience and they trusted my curation of the room. … It was by the kids, for the kids, except I was 30 at the time. I had to think like a teenager. My friend Brian once called me “Peter Pan.”
Halfway through my reign, social media became a thing. There was Friendster and a bit later MySpace. YouTube stated just a few years after. But those first few years of me at the venue, it was word of mouth. It was paper fliers dropped off at coffee shops and record stores. It was the flier in the venue window. It was Mean Street Magazine and Skratch Magazine.
I’d tease the press when they wanted to review a show. If you don’t show up with a pen and paper, you aren’t getting in (sorry, Kelli).
Most music industry went to the Los Angeles show, but smart industry came to us. Countless acts got signed following their shows. You’d often see the band meeting with a label in the parking lot near their tour van.
It was a dry room when I was there. No booze or weed whatsoever. We made only one exception to the weed rule. An artist in a band with Crohn’s disease who traveled with a nurse. Not saying bands didn’t drink backstage, on stage, in their vans (we rarely had buses), but what we didn’t see didn’t happen.
Touche Amoré performing at Chain Reaction in 2010.
(Joe Calixto)
We were often referred to as the “CBGB’s of the West,” and for a lot of bands, locals and touring acts alike, we were just that. We were the epicenter. There were other venues of course, but for some reason, we were the venue to play. Showcase Theater in Corona was edging toward its demise. Koo’s Cafe in Santa Ana was done. Back Alley in Fullerton wasn’t active. Galaxy Theater [in Santa Ana] was still, well, the Galaxy. There was no House of Blues Anaheim. Bands would drive a thousand miles to play one show at Chain Reaction. We were where the local bands started as first of four on a bill and would be headlining us within a year. We were their jumping-off point. We were where the kids came out. The real fans, many of whom started bands themselves.
Thankfully, there are other smaller venues out there today fostering the all-ages scene: Programme Skate in Fullerton, the Locker Room at Garden AMP [in Garden Grove], Toxic Toast in Long Beach, the Haven Pomona, but it’s just not the same. It was a moment in time. A time that will be forgotten in a few decades, but for today, my social media is being inundated with memories of a room that was a second home for thousands of kids.
Zero regrets. It was the best and worst times of my life. Working a day gig and then heading to the venue nearly every day of the week was rough. Relationships and friendships were hard, being that I couldn’t go out at night. I couldn’t get a pet. I was constantly tired. But I wouldn’t trade those six years for the world.
RIP, Chain Reaction.
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