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Nicole Kidman leads an ensemble of privileged, disconnected American 'Expats'

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Nicole Kidman leads an ensemble of privileged, disconnected American 'Expats'

Margaret (Nicole Kidman) is an expat American living in Hong Kong, grieving as a mother and a wife.

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Margaret (Nicole Kidman) is an expat American living in Hong Kong, grieving as a mother and a wife.

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Nicole Kidman has done a lot of different things in film: she’s been a horny schemer in Malice, a strong-willed young Irish immigrant in Far and Away, she was even Virginia Woolf in The Hours. But in television, she specializes in women who are rich and haunted. Haunted by a nightmarish marriage in Big Little Lies, haunted by the possibility that her husband is a murderer in The Undoing, and now haunted by a tragedy in Expats, the splashy Amazon series adapted from Janice Y.K. Lee’s 2016 novel The Expatriates, about three American women who are not from Hong Kong, but live there.

Kidman plays Margaret, a landscape architect. When we meet her, Margaret seems to be in a fog, barely engaged with her son and daughter, or with her husband, Clarke (Brian Tee). Clarke’s job is the reason the family has come from New York to Hong Kong, and at the opening of the series, he’s secretly seeking comfort in a church because something bad has happened. When an innocent question about a child named “Gus” causes Margaret to flee a room, the nature of that something bad begins to emerge.

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Hilary (Sarayu Blue) lives in the same fancy building as Margaret, and it’s clear they’ve been friends, although now, there is tension between them. Margaret has hurt Hilary somehow, and Hilary is finding it difficult to reconcile. Hilary and her husband, David (Jack Huston), have been trying to have a baby around the edges of her busy professional life and his questionable trustworthiness. Their marriage is in trouble, in both ways Hilary knows about and ways she doesn’t, yet.

Mercy (Ji-young Yoo) is a young woman working catering jobs who not infrequently finds herself explaining to people she meets that she isn’t local, and isn’t Korean but Korean American, and doesn’t speak Cantonese. She provides a voiceover prologue to the series that makes it clear that she feels very guilty about something, and that she’s having trouble moving on from it.

Production (sour) notes

At this point, it’s worth taking a moment to note the lengthy and sometimes stormy history of this production. The Expatriates was published in 2016, and news that Nicole Kidman’s production company had acquired the rights emerged in early 2017 — just before the premiere of Big Little Lies on HBO. The final major piece of the Expats puzzle slid into place in late December 2019, when Lulu Wang, just months after the release of her film The Farewell, came on board to direct, write and executive produce “multiple episodes.”

During filming in 2021, Kidman and several crew members got an exemption allowing them to avoid the COVID quarantine rules that applied to everyone else upon arrival in Hong Kong. As The New York Times reported at the time, there was anger not only among the city’s residents, but in its legislature. It was a bitter pill, it seems, that this production about rich outsiders who paid little attention to the lives of ordinary people in Hong Kong was being given a blessing to hand-wave regulations meant to protect those same ordinary people.

Lulu Wang (center) directs Ji-young Yoo and Nicole Kidman as Mercy and Margaret.

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Lulu Wang (center) directs Ji-young Yoo and Nicole Kidman as Mercy and Margaret.

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Perhaps most important, filming was taking place — and airing is taking place — during a dangerous and painful time in Hong Kong’s history. (It’s a massive story defying a quick summary, but one recent update came from NPR’s Emily Feng in December. The headline: “Beijing tightens its political grip on Hong Kong.”) In an interview with The Hollywood Reporter, Wang talked about the fact that the show “interrogates privilege” and described how the show was shot during the pandemic. She did not, however, say much about filming and airing a show largely about oblivious rich people when this is the political backdrop.

Of course, given past reporting on how censorship has affected Amazon’s content decisions in India, growing censorship laws in Hong Kong, and China’s treatment of disfavored speech and groups (again, here’s Emily Feng), it’s hard to believe Wang and the rest of the writers had anything like a free hand in dealing with politics while they shot in Hong Kong. And nobody seems eager to disclose what the limitations might have been.

If you can’t say anything important, should you say nothing at all?

What there is of an effort to address the fraught politics of contemporary Hong Kong comes in the fifth episode, “Central.” A double-length installment, it switches the focus to a set of characters we’ve never or rarely spent time with before: a couple of Hong Kong students, a rich Hong Kong woman who’s trying to find a new “helper” for her house, and the two “helpers” who work for Margaret and Hilary’s families. Essie (Ruby Ruiz) and Puri (Amelyn Pardenilla) are both Filipina, so they too are far from home, but their circumstances are very different from the ones Margaret and Hilary face. Over the course of one long night that includes a power outage, protests swell … and then they rather quietly subside. Someone is arrested and it’s worrying, but he’s unharmed.

The series only occasionally takes a wider view of the city and its population, but the focus unfortunately remains too narrowily focused on a particular kind of expat struggle.

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The series only occasionally takes a wider view of the city and its population, but the focus unfortunately remains too narrowily focused on a particular kind of expat struggle.

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Maybe it’s better than nothing that Expats acknowledges the existence of the strife in Hong Kong, even if it does so very nonspecifically, focusing on the broader notion that there are protests and there is disruption, rather than saying much about what the protests are about. (Again, it’s hard not to wonder whether a fairly dispassionate presentation of protests as a historical fact devoid of detail was a freely made choice.) But this episode feels attached to the series like a rabbit’s foot to a keychain, more for the blessings it’s supposed to bring than for its function. So, maybe it’s not better than nothing. Maybe doubling down on the degree to which Hilary and Margaret, in particular, are ignoring the city under their feet would have made more sense.

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Some of the early publicity around this series suggested that it was a satire. The book may well be a satire, but this series is not a satire. Margaret and Hilary are selfish, and the existence of the expats we meet implicates them in a variety of destructive systems as they throw parties and talk only to each other, enjoying the parts of life in Hong Kong that are pleasurable and avoiding the parts that are not. But mostly, Hilary and Margaret are presented as sympathetic, as our protagonists, guilty of excess but little culpability for their circumstances, much like the women in Big Little Lies. Kidman’s gift for portraying the grief that Margaret tries to bury under a layer of ice isn’t witty, quite; it’s her pain that dominates.

The writing of the series cannot seem to lower its pH and satirize these women, or even to let go of any claim they might have to victimhood. Margaret’s passing interest in news reports about crackdowns on protests is distasteful, but it’s not connected to her story; it’s just a flaw here, like a short temper. In individual moments, our three women — Hilary and Margaret at least — may be presented as insensitive, but that doesn’t make the series an incisive critique of them. Sour milk does not satirize the dairy industry just because it tastes bad.

Mercy is a different story. Mercy is interesting, because while she’s also an expat, she’s quite a different kind. Yoo imbues her with complex, guilt-ridden believability, making her an outwardly confident young woman with an thick hide that she hobbles off to repair after something hurts her. It’s the strongest performance in the series, and it’s the one that holds up best under the strain of the show’s uncertain footing.

Marriage, Privilege, Redux?

David (Jack Huston) and Hilary (Sarayu Blue) navigate a messy marriage.

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David (Jack Huston) and Hilary (Sarayu Blue) navigate a messy marriage.

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The most perplexing thing about Expats is that its story has almost nothing to do with the fact that these women are expats. You could pack up this series and fly it to Manhattan, tell the same core stories about these three women (Margaret’s loss, Mercy’s guilt, Hilary’s marriage), and change … almost nothing. In fact, you could ship it to Monterey to be the third season of Big Little Lies, and it would have a lot in common with the other seasons (tragedy, guilt, marriage).

Perhaps in an effort to avoid saying the wrong thing about expats, or about Hong Kong, Expats winds up saying nothing about those things at all. The insularity of a woman living abroad who doesn’t speak the local language is a perhaps ironic mirror of the insularity of a story that doesn’t take much notice of its setting other than as scenery.

There was probably a different vision for this show at some point. A vision of it as glamorous and gorgeous and darkly funny (darkly funny like The Farewell was), making affluent people who are expats or even just tourists squirm in recognition. But along the way, it became something far less interesting than that: a good-looking rich-people melodrama. Moreover, it’s a project that invites you, right from its title, to be bewildered by its indifference to life in Hong Kong. It’s like showing up at a billionaire’s house and taking 100 pictures of the koi pond from every angle, while the house is burning down behind you. There’s nothing wrong with the photos you’ve taken, but there is the feeling you could have captured something far more worthy of your attention by just turning your head.

Lifestyle

Mystery artist steps forward as future of iconic bird atop L.A. eyesore in doubt

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Mystery artist steps forward as future of iconic bird atop L.A. eyesore in doubt

Pillarhenge is an eyesore. Since construction at the Eagle Rock site — so nicknamed after a decrepit colonnade — first stalled in 2008, the only thing that accumulated faster than the garbage and graffiti were the epithets from outraged community members.

While many saw blight at the corner of Colorado Boulevard and Holbrook Street, a local artist saw opportunity. One of the site’s 36 pillars — the tallest one in the middle — could be a perch for a big, pink, screeching bird.

“It was a vision, and I just knew we would do it,” says the artist who goes by Flod and is finally ready to share his story. Flod insists on anonymity because, “isn’t it more fun to leave it a mystery?”

Pinky overlooks workers pouring concrete at a construction site known as Pillarhenge because of its colonnade.

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Flod scraped together tomato cages, chicken wire, paper, glue and pink house paint. “I’m kinda into recycling, so I didn’t even buy materials for it. It was supposed to just give a laugh, maybe last a day,” he says. That was more than a decade ago.

One day in 2014, Flod’s young adult nephew, adept at climbing, helped him hoist the 4-foot, about 10-pound papier-mache sculpture atop the 70-foot pillar. It fit perfectly. In the years since, the bird, affectionately dubbed Pinky, has inspired a movement. There are custom T-shirts, multifarious fan art, an online forum and a dedicated posse keeping constant watch. Pinky’s fame grew even as the bird bent, molted and faded with each turn of the calendar.

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As much as locals loathe Pillarhenge, they idolize Pinky. And now that construction at the site of “The One on Colorado,” a six-level, mixed-use development with 31 units, has restarted, the bird’s future is uncertain.

“There’s a lot of love for this crazy bird,” says Jonathan Ford, who has a direct view of Pillarhenge from his backyard. “It’s iconic.”

While discarded elements are through lines in Flod’s sculptural work, it’s the community impact that separates Pinky from the rest. “I’ve done other things I like a lot, but this one definitely exceeded expectations by many, many times over,” he says.

A man poses in a papier mache mask

Flod, the artist behind Pinky, watched in obscurity as the bird’s popularity grew.

A reclusive artist steps forward

Flod never set out to be found. He was happy to relish in Pinky’s celebrity from the shadows. That changed in April 2023 when unknowing construction workers unceremoniously removed a disintegrating Pinky from its eyrie.

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General contractor Enrique Valdez of Azteca 111 Builder Inc. was tasked with cutting the ratchet straps securing Pinky, seemingly putting an end to the bird’s reign.

A man in an orange vest poses for a picture as a construction team works in the background.

Construction manager Enrique Valdez saved Pinky after concerned locals shouted at him when he removed the molting bird from its perch.

Then something unusual happened as Valdez descended in the boom lift with Pinky’s remains. Valdez recalls, “A few people stopped and yelled, ‘Don’t take Pinky!’” The distressed locals approached Valdez with cellphone videos they’d taken of the act. “They asked if I was going to bring him back and showed me the Facebook page.”

The Facebook page — Goodbye Pillarhenge Park — has been the hub of Pillarhenge lore since 2015. No sooner had clips of Pinky’s removal been posted than comments began streaming in: “Sad day for proud bird,” “End of an era,” “The bird was the best thing about Pillarhenge.”

“I didn’t know Pinky had so many fans!” laughs Valdez while describing the predicament he was in.

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The community’s protectiveness saved Pinky from the landfill. Valdez deposited Pinky at a warehouse belonging to the site’s owner, showing him the Facebook posts of Pinky’s removal. The site has changed hands multiple times, with the latest owner being Ara Tchaghlassian, founder of retailer American Tire Depot.

“I told him, ‘It seems we have a legend on our hands,’” explains Valdez.

After stabilizing the hillside, the development team discussed remaking the bird with the help of the original artist. But nobody knew who that was.

“People are just done with decades of this ugliness,” says Annie Choi, owner of Found Coffee across the street from Pillarhenge, about the site. “But it also has this weird claim to fame, you know,” she says, as a regular enters the shop wearing a Pinky T-shirt.

dilapidated Pinky in 2023, it was placed in a storage unit until Flod the artist could be found.

When construction manager Enrique Valdez removed the dilapidated Pinky in 2023, it was placed in a storage unit until Flod the artist could be found.

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As a career documentary filmmaker, I’m always on the lookout for quirky Los Angeles stories. I’ve been photographing Pillarhenge for more than eight years, largely on black-and-white film. I met Valdez in May 2023, shortly after construction had restarted. He invited me onto a boom lift to photograph the site from above and inquired if I knew who had made Pinky, which he’d removed just days prior. I offered to do some sleuthing.

While I fruitlessly tapped my L.A. street art connections, Valdez posted in Goodbye Pillarhenge Park: “Looking for the original artist to refurbish the bird.” He included photos of Pinky, headless and forsaken, but safe amid piles of overstuffed filing boxes.

Unbeknownst to its more than 800 members, Flod had been lurking in the public group for years, silently celebrating each new mention of Pinky. Valdez’s post presented a unique moment of decision for the reclusive artist: to reply risked abandoning a mystique he’d long cultivated; but ultimately the lure of a sanctioned Pinky reboot proved too tempting to refuse.

Fortifying Pinky, but for how long?

A man in a large white skull mask with pink spikes and a mustache.

Beyond site-specific work, Flod also creates masks as part of his art practice.

Tiptoeing into Valdez’s DMs with “I may know the artist,” the two arranged to meet at the warehouse where Flod disclosed his identity, declining compensation and asking only for access to Pillarhenge. Pinky’s carcass then returned home with Flod, who set about removing the rotted skin from the chicken-wire skeleton, which he repurposed for its next version, covering it in paint-dipped cloth, instead of paper and white glue, to better withstand the elements.

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Tellingly, the exterior of Flod’s home studio is Pinky’s exact shade of pink. In the yard, multicolored concrete sculptures adorn nearly every nook and cranny. Inside, hand tools, musical instruments and partially completed papier-mache projects are everywhere. “Mind the points,” Flod cautions, as I maneuver around an oversize papier-mache mask covered in protruding footlong spikes. “I can’t fix those if they break.”

A man's hands hold a string atop a white skull mask adorned with purple spikes.

Skull masks are a particular theme in Flod’s work.

The back room of Flod’s studio is like a butcher’s walk-in fridge, where dozens more masks hang from the ceiling, each more outlandish than the last. There’s a bug-eyed rabbit, a blue donkey and several variations of what appear to be skulls. “That one’s name is Charles E. Fromage.” I repeat the name and Flod adds, “Get it?”

Pinky is not Flod’s first foray into site-specific social commentary. On a hike in 2005, Flod came across a truck tire lodged between two boulders in Malibu Creek. Returning to the site with a bag of cement, he made a mixture with sand and water from the creekbed. After slathering it over the immovable garbage to make it appear as if it were just one more river rock, he titled the piece “Reinventing the Wheel.” Then there was 2015’s collaborative effort “Stella the Steelhead,” a 35-foot fish skeleton stuffed full of trash taken from the L.A. River, which a group of artists, environmental activists and volunteers towed behind an adult tricycle along the river’s bike path.

Just two months after its rescue, in December 2024, Pinky’s rebirth was heralded in Eastsider LA as “a Christmas miracle.” However, a rainstorm soon damaged Pinky’s reinforced cloth wing and the bird was temporarily removed for repairs. It was around that time that Ford moved near Pillarhenge. One morning he went out back with his coffee and noticed something … pink.

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“I texted my neighbor and he responded immediately: ‘Pinky’s back! Oh, thank God, I didn’t know what happened. I love that thing!’ And I just went, So this is normal.”

During Pinky’s broken-wing pit stop, my 10-year-old daughter Margaret Green and friends Ezra Cunningham and Meta Nalepa encountered the bird in a nearby driveway while delivering their neighborhood newspaper. Flod, a subscriber, acknowledged he was Pinky’s creator. Margaret’s article, “Pink Bird: Eagle Rock Artist Found,” includes a rare photo of Pinky away from its pillar-top nest.

In response to being discovered by the grade-school journalists, Flod is effusive: “That was a really cool part of [Pinky’s] story. It definitely means a lot to me. That kind of stuff is the whole thing.”

Now, time is running out on the bird as the rising tide of concrete, scaffolding and rebar obscures Pinky from pedestrian view along the south side of Colorado Boulevard. Another few months and …“Well, you’ll still be able to see Pinky from the freeway,” says Valdez, who expects the construction work to finish in about two years.

A bird sculpture sits on a nest atop a column with a white egg to its right on another column.

Someone made an egg to accompany Pinky atop Pillarhenge. Flod promises it wasn’t him.

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In Goodbye Pillarhenge Park, one member’s recent comment betrays what many are perhaps not ready to admit: “I will miss Pillarhenge.”

Recently, a giant egg appeared in a nest atop the pillar beside Pinky’s. “I had nothing to do with that!” insists Flod. Rumors swirl as to what will emerge when the egg hatches: Life-size bronze? Historical landmark plaque? While not quite so grandiose, Valdez says discussions are ongoing regarding the bird’s future.

“If Pillarhenge is completed and Pinky goes into the lobby or something, that’s all right, I guess,” Flod concedes. “We need more housing.” Then the artist’s acquiescence gives way to a defiant smirk: “But I want the bird to win.”

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‘House of the Dragon,’ Season 3, Episode 2: Honey, I’m home!

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‘House of the Dragon,’ Season 3, Episode 2: Honey, I’m home!

Emma D’Arcy (Rhaenyra).

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This is a recap of the most recent episode of HBO’s House of the Dragon. It contains spoilers. That’s what a recap is. 

Credits! As you’d expect, last week’s Battle of the Gullet earns some new thread in the Die, You! Tapestry — there’s Sharako and Corlys goin’ at it. And there’s poor dead Jacaerys, looking for all the world like your gramma’s tomato pincushion. (I’ve only just realized that when you see blood pooling around a figure in the tapestry, it means they’re dead. Both Sharako and Jacaerys get scarlet blooms — but not Corlys. Hunh.)

We open on the smoking aftermath of the sea-battle, and then we see Rhaena, whose attempt to help Team Black turned into a big ol’ whoopsiedoodle, tearing away on Sheepstealer looking well and truly freaked. (To be clear, Rhaena’s the one who looks freaked; Sheepstealer’s just like, “Welp, my work is done here. Gotta be hitchin’ a ride on the wiiiiind.”)

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They don’t close-caption a character’s internal monologue, but from the expression on her face, Rhaena’s would read something along the lines of “Ohcrapohcrapohcrapohcrapohcrap.”

Rhaena (Phoebe Campbell).

Rhaena (Phoebe Campbell).

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On Dragonstone, the dragonkeepers receive Jacaerys’ corpse and sort of crowd-surf it into the castle like he’s Peter Gabriel during “Lay Your Hands On Me.” Sir Lorent Marbrand, Rhaenyra’s less-than-loyal royal guard, asks a shaken Baela: “The battle?” to which she responds, shakily, “T’is won.”

Which is helpful to know, because from where I’m sitting it looked like a pretty unilateral, omnidirectional clustermess.

If you thought the creators of the show were gonna spare us seeing Rhaenyra’s reaction to Jacaerys’ death (and duly supply Emma D’Arcy with their Emmy clip in the process), you were much mistaken. It’s pretty wrenching stuff. And speaking of wrenching: When Ser Lorent attempts to pull Rhaenyra away from her son’s body, she wrenches out of his grip and turns on him, along with the rest of her Small Council, which has shrunk to just two dudes so now must technically be referred to as her Tiny Council.

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Sunday Puzzle: That’s HOT!

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Sunday Puzzle: That’s HOT!

Sunday Puzzle

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Sunday Puzzle

On-air challenge

Today’s theme is “hot.” Every answer is a familiar two-word phrase in which the first word starts HO- and the second word starts with T-.

Ex. Rowdy bar with country music, in slang –> HONKY TONK
1. Guided walkthrough of a property
2. Any member of the N.H.L.
3. Lone Star State metropolis that’s the fourth-largest city in the U.S.
4. Like an animal with its four legs bound (hyph.)
5. Instruction manual (hyph.)
6. A little pompous and arrogant, informally (hyph.)
7. Punny greeting from a magician
8. Someone who steals animals from a stable
9. Congestion that drivers encounter around July 4th, say
10. Acquisition of a company against its will.
11. Exclamation for “wow!” on TV’s “Batman”

Last week’s challenge

Last week’s challenge comes from Evan Kalish, of Bayside, N.Y. Take the name of a nocturnal creature, in two words. The first word is a spooky sound. Move the last letter of the first word to the start of the second word and you’ll get another spooky, nocturnal sound. What is the creature and what are the sounds?

Answer: Screech owl –> howl

Winner

Dan Sadoff of St. Paul, Minnesota

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This week’s challenge

This week’s challenge comes from Rawson Sheinberg. of Plymouth, Mich. Think of a U.S. city with a two-word name. Add a letter to the first word, without rearranging letters, to name a country. Then, without adding a letter, rearrange the letters of the second word to name another country. What places are these?

If you know the answer to the challenge, submit it here by Thursday, July 2 at 3 p.m. ET. Listeners whose answers are selected win a chance to play the on-air puzzle. Important: include a phone number where we can reach you.

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