Oh Yeah, Glare at Me, Jonathan Banks

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Initially, The Beast in Me seems like a serious, suspenseful thriller. Claire Danes stars as Aggie Wiggs, a successful writer struggling with loss, a creative slump, and the expenses of her large Long Island home. Her new neighbor, Nile Jarvis (Matthew Rhys), a wealthy real estate heir, may be a suspect in his wife’s death. Aggie and Nile connect, creating a compelling dynamic (though not a romantic one, as Aggie isn’t interested in men), and a complex story begins to unfold. However, the show takes a surprising turn when Jonathan Banks appears in the third episode, fundamentally changing the direction of the series.

The series begins with Martin Jarvis, played by Banks, relaxing at his estate while two young boys playfully fight. It quickly becomes clear these aren’t his grandchildren, but his sons – the children of his much younger second wife. His adult son, Nile, doesn’t want children of his own, so Martin had another family to continue the Jarvis name, even if it meant his first wife suffered through multiple miscarriages. This scene is a turning point: viewers will either be turned off if they expected a serious crime drama, or intrigued by the show’s surprising turn towards a more darkly comedic, almost soapy, story. It’s reminiscent of shows like Disclaimer, but with a lighter touch. Banks perfectly embodies this tonal shift, bringing a sense of weight and sophistication to the show’s unexpected, and somewhat outlandish, new direction without sacrificing its artistic quality.

There’s a very good reason shows keep casting Stephen Banks: he’s incredibly intimidating. He’s an older man with a weathered face and a strangely calm gaze, giving the impression he’s detached from even serious past actions – like a bar fight from decades ago. He projects an aura of weariness, as if he’s already bored with you before you even speak. This alone makes him a valuable asset to any show. He can be a highly effective problem-solver, like in Breaking Bad, calmly going about his business. Or, as seen in the recent series Constellation, he can play a seemingly gentle mentor who still feels subtly dangerous. He even excels at subverting expectations, like when he appeared as a criminology professor on Community after Chevy Chase’s departure. Seriously, have you seen him in steampunk goggles, battling Troy and Abed inside a giant bubble? It’s fantastic.

It was initially a bit unexpected to see Banks cast in The Beast in Me. The role requires him to portray a powerful real estate mogul, someone who effortlessly charms the wealthy, which is a departure from the tough, authoritative characters he usually plays. But that’s precisely why Banks is so compelling in the series. He’s incredibly skilled at playing characters who are deeply disillusioned. His character, Nile, is a modern-day failure – not just because he’s a suspected murderer, but because he seems uninterested in success or family. Banks and Rhys create a believable father-son relationship, with Rhys constantly seeking his father’s approval and Banks remaining emotionally distant. It makes you wonder what Banks could do with a role like Logan Roy! What’s truly impressive is Banks’ understated performance; he doesn’t rely on grand gestures, but rather on subtle expressions. This arc culminates in a powerful scene in the finale. It begins with a charming moment of Banks discussing wine with his young son, then quickly shifts when he receives devastating news. There’s one line – a frustrated “Son of a bitch!” delivered with such pain and weariness – that was so captivating, it felt like the scene could explode with emotion.

Jonathan Banks is 78 years old, but he first became famous as Mike Ehrmantraut in Breaking Bad when he was 62 – a role he’s still strongly identified with. Remarkably, he looks almost unchanged now, even after appearing in Better Call Saul, despite a few more wrinkles and slightly heavier eyelids. He’s always projected an air of someone who’s experienced a lot in life. While older clips from films like Airplane! and Beverly Hills Cop, or his early role in the 1980s series Wiseguy, show him as a younger man, even then he seemed like someone who’d already lived a full life, complete with responsibilities and a long career.

In the opening scene of The Beast in Me, after the children leave, Martin, played by Banks, visibly winces while taking a small vial of what appears to be pain medication. While the detail of him needing painkillers is a familiar trope to show age and physical discomfort, Banks doesn’t overplay it. He simply moves and reacts as someone who has genuinely felt the wear and tear of a long life. These subtle touches, which might seem unsettling, are actually quite comforting to watch. It’s genuinely enjoyable to see Banks bring such authenticity to every scene – a reminder that the natural process of aging, with its wrinkles, stiffness, and aches, can have its own compelling power and charm.

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2025-11-18 18:55