Natasha Lyonne and Rian Johnson Reveal How ‘Poker Face’ Defies Hollywood Norms and Ignites Feminism

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Rian Johnson and Natasha Lyonne are working in the studio, perfecting the ending for Season 2 of “Poker Face,” yet it’s the last edit of this magazine article that has them concerned.

Lyonne suggests it’s your responsibility to make the necessary edits,” she says, her voice rough from cigarettes, “and I deeply apologize for putting you in this position.

She’s apologizing as when she puts Lyonne and Johnson (who she affectionately refers to as “RiRi JJ”) in the same space, they can banter back and forth for extended periods, leaping from one subject to another – John Candy, howling wolves, fax machines. At minute 13, Lyonne mentions that fax machines are potentially hazardous. By this point, no questions about “Poker Face” have been posed.

The “Howcatchem” series titled “Peacock,” unlike traditional “whodunit” mysteries, centers around Charlie Cale, a detective by nature with an uncanny ability to spot dishonesty, who embarks on a road trip across America, evading the mob and finding trouble instead. In today’s streaming landscape where even sitcoms can stretch into hour-long dramas, “Poker Face” remains consistent in its adherence to its genre.

Kicking off each installment is a grisly murder, with my character, Charlie, entering the scene later. There’s always a tenuous link between her and the crime, drawing her into the deceased’s life, yet she never ponders why she keeps encountering such brutal demises. The second season takes us to a funeral home, retail megastore, and minor league baseball field. A visit to an elementary school is also included, rest assured no young students are endangered in “Poker Face.” Despite this, Johnson asserts, “It’s easier to imagine killing a child than a dog.” (Please, refrain from editing that part out.)

Each episode is filmed over a period of 10 days – three at a studio in New York City and the remaining seven on location throughout the tri-state area. Under the guidance of showrunner Tony Tost, the series successfully transformed rural New York into Florida, but an ambitious concept that proved challenging was creating a train mystery reminiscent of “Murder on the Orient Express.” Johnson, who is known for his “Knives Out” films inspired by Agatha Christie, explained that this idea involved an Amtrak train and was a fantastic script, but working with trains can be quite tricky.

It’s evident from conversing with Johnson and Lyonne that they have a profound affection for Hollywood. During this 60-minute discussion, they mention no less than 16 TV series, 24 films, and 38 actors, several of whom feature in the current season of “Poker Face.” In its second installment, the program continues to attract high-profile guest stars, with Cynthia Erivo portraying sextuplets, John Mulaney as a corrupt FBI agent, and Kumail Nanjiani playing a character reminiscent of Joe Exotic in the role of a gator expert.

Johnson notes that the appeal of these guest appearances lies in their minimal risk: this allows Kumail to confidently portray a character with bold, daring flair, without fretting over committing to multiple episodes.

Unlike many weekly murder mysteries, the show “Poker Face” steers clear of scenes set in courthouses or police stations, a fact that brings relief to star Natasha Lyonne.

Johnson points out that this series isn’t focused on procedures; instead, it’s more like a gathering place with Charlie. This season, we’re emphasizing humor much more than before. Perhaps it’s due to the current state of the world, but our goal is simply to have fun.

Contrary to expectations, the rigid format of this show actually makes it quite flexible. Due to numerous writer-director-actor collaborations, each episode essentially functions as a “short film,” according to Johnson. This allows directors to step in and exert their creative control over their episodes. Furthermore, since there’s not much known about the character Charlie, the spotlight of each episode is solely on the weekly mystery and the contained world-building.

According to Johnson, you’re free to view them in any sequence, and it will create an impression that Charlie appears to develop throughout the entire season.

The series stands out among premium TV shows due to its reluctance to follow large story arcs. This aspect made it challenging for Johnson to market the show. “Selling the program was incredibly tough. Its episode-by-episode structure was a daunting prospect for everyone.

Lyonne was thrilled when he read the initial script,” he mentions. “I thought everyone else would share my excitement, but many were apprehensive about it not being a continuous narrative. The character Charlie Cale delves into her past and searches for a partner while tackling cases.

Charlie’s apparent lack of interest in settling down or finding a partner gives the show an edge, according to Lyonne. While there have been male characters who roam without romantic entanglements, “it wasn’t allowed for a female character to have an inner dialogue that didn’t revolve around finding a man.

A daring move by one of our most renowned contemporary directors, who is a man, is having a female character driven by philosophical ideas or an ethical soul journey. This allows for me to explore many opportunities that actors like James Cagney or Humphrey Bogart could, and that’s incredibly exciting.” – Lyonne, nodding towards Johnson.

Johnson frequently expresses that he sparked the idea for “Poker Face” while binge-watching shows like “Columbo,” “Quantum Leap,” and “Highway to Heaven” during the pandemic. Similar to his preferred COVID-19 viewing, he aimed to create something traditional, starring a drifter protagonist with a large heart. However, he desired her to be a female character, specifically one individual.

Lyonne asserts that considering multiple men for a role and then thinking, ‘Natasha would be ideal for this,’ is essentially a feminist act. This can be likened to saying, ‘Either Daniel Craig or Emma Thompson could do it; they’re equally suitable.’ Such an ability to consider different options is a valuable opportunity for Lyonne to take on the role.

With the second season of “Poker Face” coming to an end, Lyonne is moving onto a new venture – her first feature directorial project, co-written with Brit Marling. Named “Uncanny Valley,” this film tells the story of a teenage girl who struggles to grasp reality as she becomes increasingly engrossed in a popular augmented reality game. This unique production will merge conventional filmmaking techniques with artificial intelligence, using an ethical AI model that has been trained exclusively on data free from copyright restrictions.

As a passionate film enthusiast, I’m speaking up about the importance of safeguarding artists and tackling the approaching tide head-on. To clarify, this isn’t a movie made by AI, but rather we use technology to enhance certain aspects like set extensions.

When the film was announced in April, many on the internet did not see it that way.

According to Lyonne, it’s amusing how quickly people misinterpret headlines due to our peculiar society that lacks proper reading skills. “All of a sudden, I was transformed into this strange version of Darth Vader, or so it seemed,” says Lyonne, finding it hard to believe but still expressing gratitude.

Lyonne remarks that he’s never been in something like the whirlwind of criticism before. It’s quite intimidating, for those who ask, and it’s certainly no pleasure when people speak unkindly to you. It does, however, help one mature a little.

In 2017, Johnson faced criticism from “Star Wars” fans when he deviated from expectations in the critically acclaimed but controversial film “The Last Jedi.” His advice is to ignore the noise and simply create. In an age where films and TV shows are often judged before they’re even produced, Johnson asserts that any outstanding art seems flawed during its creation. He says, “Any great work, while being created, will appear like a failed idea that won’t succeed.” According to him, anything remarkable is born in isolation. If it weren’t, it wouldn’t survive the initial stages of development.

For Lyonne, leading a feature film is a well-deserved opportunity that comes after many years in the entertainment industry. Her journey includes early fame with parts in “American Pie” and “But I’m a Cheerleader,” followed by over a decade of persistent effort to secure roles. Later, she found success in “Orange Is the New Black” and then co-created and starred in “Russian Doll.

She expresses her deep appreciation for her achievements, having experienced life on the less fortunate side of Hollywood’s spectrum. She explains, ‘You keep contacting your agent, but they tell you there are no productions at the moment. But I’ve seen those movie billboards, and it doesn’t add up! It’s acceptable to admit that perhaps I’m not being considered for the roles.’

Currently, billboards are heavily featuring Lyonne, whose fiery red locks have adorned crossroads and transit stops for nearly a decade. However, throughout her professional journey, she’s discovered that true satisfaction lies within the work itself and in the people she collaborates with.

She seems on the verge of expressing even more admiration for Johnson. Yet, before her emotions overflow, she shifts topics, leaping from discussions about the Met Gala to jokes about Katy Perry’s internet memes and contemplating changing the color scheme on her iPhone.

As I ask my next question, Lyonne smiles. “Good luck editing.”

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2025-06-02 21:47