Love and Death (HBO Max): From perfect housewife to ax killer

For veteran TV creator David E. Kelley, the process hasn’t changed much since he joined the writing team Los Angeles Law. “It always starts out the same,” he explains. “The action spectacle and the characters have to draw me in. Above all, it’s a matter of feeling hungry as a writer. Feeling the fecundity of the story and starting to notice how my adrenaline gets high.” Driven by that raging fever, he created series like Picket fencesAnd Ally McBeal also lawyerclassics from those distant 90s in which public chains still took risks.

Still a slave to his instincts, Kelly has been drawn in recent years to work, above all, for the sake of platforms. On the arm of Nicole Kidman Produce bombs like Big Little LiesAnd backing down and now, Love and death (HBO Max, Thursday the 27th); Like the previous two, A.J A drama with satirical touches that reveals the darkness beneath the inner serenity.

His story will be familiar to those who see, Just a few months ago Disney +And candiesannoying True crime Starring Jessica Biel (Or before the 1990 telefilm criminal involvement, with Barbara Hershey in the lead). Once again, a disturbing true crime that took place in the small town of Wylie, Texas, in the early 1980s is unearthed: the crime that… Candy Montgomery, a housewife who seemed to have it all (husband, two kids, nice house, friends, faith), ended up paying for her unseen gaps with her friend and neighbor Betty Gore, and also with a mysterious brutality of up to forty blows with a single axe..

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“Sorry for being so cliche, but truth can be stranger than fiction,” says Kelly. “In this work, the burden is often to conjure up certain exhilarating characters and events out of thin air. What he was about here was living up to the truth.”

At the end of the adventure

Elizabeth Olsen He begins to flesh out the protagonist with a pseudo-pizpiretos vibe, almost like something from the first episodes of The Scarlet Witch and the VisionInspired by the half-innocent sitcoms from the 50’s, 60’s and 70’s. We say “wrong” because deep down he’s not very happy. Her husband, Goofball Butt (Patrick Fugitthe old protagonist always famous) do not satisfy her physically or morally. This leads her to look at Alan Gore (Jesse Plemons), Betty’s husband (lily boss), a friend from the church. After a live show inside a car and a thought process that seems to last for months, an affair begins with a fatal outcome.

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You never know what happened in that laundry room. “We have, of course, only the survivor version,” says the veteran director. Leslie Linka Glatter, who takes care of five of the seven episodes. “This is not like Rashomon, where we have six points of view, the last of which corresponds to the ghost of the murdered woman. This is not to say that exploration ceases to be cool. Not complicated. And I hope the viewer ends up having complicated feelings about the protagonist“.

“Lynchian” legacy

A former dancer and choreographer, Glatter almost got his start directing soap operas with Twin Peaks. A lot of David Lynch More legal in poison credits beauty (very blue velvet) or the falsely poetic climate of Wylie depicted in the series. “naturally, blue velvet It was one of the movies I re-watched when we embarked on this story,” he explains. and in the credits, Nina Simone song [Don’t Let Me Be Misunderstood]; Those white fences that look perfect but, on closer inspection, have peeling paint, or that precious ceramic that’s really cracked & mldr; all of that blue velvet for reference“.

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