In a bizarre and chaotic scenario, performing an emergency appendectomy on your coworker-cum-love interest would already be challenging enough, but making matters worse is that your romantic rival, who also happens to be a coworker, is involved as well. To add to the surreal nature of this situation, you’re not just in any ordinary hospital, but on a cruise ship caught in a hurricane’s eye, and the one steering this unstable vessel is a First Mate under the influence of hallucinogenic substances after accidentally consuming psychoactive saltwater taffy. To make things even more peculiar, this mind-altering taffy was a gift from guest star Amy Sedaris, who is battling copper poisoning due to her raw-organ meat diet. The First Mate, in his tripped-out state, previously lost a game of strip poker with the boss, a game intended for “boys, butches, and bi’s.” This surreal day unfolds on the set of Doctor Odyssey, a series that blends elements from shows like The Love Boat and ER, all filtered through the eccentric imagination of Ryan Murphy. At its heart, this whirlwind of chaos revolves around Joshua Jackson, who brings a “sparkle” to his portrayal as the titular maritime doctor. Despite recognizing the absurdity, he embraces it wholeheartedly, making Doctor Odyssey an unpredictably entertaining new series worth watching.
At 46 years old, this Canadian-born actor has had his share of hardship and drama throughout his career, which spans several decades and reflects various TV trends. He was a teen heartthrob for over a hundred episodes as Pacey on Dawson’s Creek. Later, he starred in J.J. Abrams’ popular series Fringe, the sci-fi successor to Lost. In the 2010s, he played prestigious roles alongside others in The Affair on Showtime before moving to streaming with an adaptation of Little Fires Everywhere, a bestselling novel. He then took on a role that was far from his usual character as a sociopathic fraud in Dr. Death, a true-crime series. Now, Jackson’s latest project takes him into new territory as both the star and executive producer of Odyssey, where he says the goal is simply to have fun. The team’s measure of a good scene is whether it was enjoyable or not.
During a break in New York, Jackson exudes a playful vibe at the dimly lit, wooden-paneled bar of the Ritz-Carlton on a gloomy day. His schedule for the ABC series is intense, with lengthy shooting days and an unusually long 18-episode order for the first season, which he manages alongside being a parent to his four-year-old daughter. The past few years haven’t been easy: Following a highly publicized divorce from actress Jodie Turner-Smith, and another split a year later with actress Lupita Nyong’o, his Topanga Canyon home was devastated by the January fires in LA. It’s been tough, but over a cup of tea, Jackson is engaging and unfazed, discussing fan theories, filming multiple partners, and the tactful approach for depicting certain intimate scenes. Did you find that interesting? Indeed, he does.
Have you managed to find your footing following the L.A. fires? My friend graciously let us stay with her temporarily, so we’ve been able to get by. We’re now adjusting to this new routine as I work on rebuilding. It’s likely that I won’t be moving back into my house for at least another two years.
Is it important to you that Doctor Odyssey is produced in L.A., given its close association with the entertainment industry? The city has a wealth of skilled professionals who have been working elsewhere for some time. This production feels like a return to the roots, being one of Ryan’s long-standing crews and a group of experienced individuals who know their craft well. They work together seamlessly without needing to figure things out as they go along. I’ve worked in various locations, but L.A., with its extensive resources, is still 10 to 25 years behind becoming a fully-fledged production base. This time lag significantly impacts the quality of our work.
This show seems to bring back a familiar feel from the era of network television that we’ve missed in the streaming world, not just in its technical aspects but in its storytelling approach. It’s sleek, modern, and visually appealing, yet it harks back to a time when TV felt more personal, like an inviting escape for 45 minutes where you could unwind. Ryan described his vision as, “I want to create a show that lets everyone take a deep breath.
There’s a unique, charming quality about it that seems as though many other shows have overlooked or forgotten altogether. This is a common oversight we often encounter in both the entertainment industry and casual viewing – the belief that maturity requires solemnity, and that any hint of joy or lightness equates to a lack of seriousness. However, this was not always the case; throughout the golden age of entertainment, shows were designed to sparkle a bit. While I’m not dismissing the quality of some current shows, many have lost their sense of fun and instead focus on being overly heavy and tedious.
Why did you agree to Ryan’s proposal? I had been seeking a change of pace, as my daughter was about to start school and I felt the need for something less demanding, yet engaging, quick-witted, and full of energy – in short, “sparkly”. His concept resonated with me because it offered a self-propelling narrative with a fresh adventure each week. The appeal lies in its freedom from excessive mythology, a common issue that can weigh heavily on many shows. After 20 episodes, actors often find themselves grappling with heavy themes such as the death of a parent, loss of a pet, illness, drugs, and impending arrest – understandably leading to feelings of depression. However, in “Odyssey”, while there are a few recurring storylines, we primarily get to interact with new characters each week. The show’s mission statement is essentially: “Just play.
The show I’m referring to doesn’t shy away from its status as a TV production. Finding genuine joy in life, and especially in storytelling, can be more challenging than evoking sadness. To craft a tale that resonates with wit, playfulness, and joy is an intentional decision, not something that comes easily or naturally for most writers and actors. We, as creators, often struggle to find reasons for happiness, making it easier to focus on the somber aspects of our work.
How would you describe Max Bankman’s character, given that he possesses a striking charm reminiscent of a contemporary Marlboro Man?
How do you build a character out of that?
How to make a human out of the character?
I’m wondering if perhaps I didn’t manage it correctly. I’m not quite certain myself. And it’s not that I’m putting myself down – far from it. To me, Max seems to be more symbolic than a character with a deep backstory. I’m more interested in him as a symbol rather than questioning, “Who is the person pulling the strings?
Are you using any specific imagery or themes reminiscent of Cary Grant or George Clooney in your portrayal? Your character always remains composed and unfazed by events, much like these actors, suggesting an echo of a time when the pose and demeanor were crucial elements of masculinity.
Despite a significant shift towards greater conservatism, our previous stance was considerably liberal.
It’s true, Cary Grant was quite famous and his sexuality is often speculated to be bisexual. And oh boy, those old movies of his were really risqué! If you go back to the early days of talking pictures, you’ll find that the dialogue and style are distinctly different from what we have today. However, there are certain aspects that might still raise eyebrows due to our society’s stark divide. I believe we’re even more conservative now than during the filming of Dawson’s Creek. In fact, it seems we’ve become significantly more reserved.
During our initial interview for Dawson’s Creek, a lady from a daily publication for Christian women was present. She was upset that Dawson and Joey had a discussion about their growing feelings for each other, while covered in bed, fully dressed. Even before I became a parent, I understood that was the most suitable situation for what might transpire. Two adolescents, clothed, discussing what may happen if they took things further. Meanwhile, my character was having sex with an adult teacher, yet that aspect wasn’t mentioned.
In the third series of “Dawson’s,” there was a shocking moment when two teenage boys shared a kiss. This act was controversial at the time but ultimately became accepted within our society, with our young audience remaining unfazed by it. Today, I believe we see both extreme transgression and a general avoidance of pushing boundaries in popular entertainment. For instance, I produced “Fatal Attraction” a few years ago, and I was disappointed by the portrayal of the sexual scenes because that story is about power struggles and domination, not love or sensuality. The sex scenes were not meant to be romantic, but rather a depiction of power dynamics. There’s an element of transgression in this portrayal that is intriguing. However, we are now incredibly cautious, particularly when it comes to depicting sexual dominance and power dynamics between men and women, as though showing such scenes on screen implies endorsement.
It seems like the setting of Doctor Odyssey on network TV mirrors pre-Code Hollywood. This season, you’ve definitely caught the spirit of the times with the portrayal of the throuple-threesome. I believe that scene in particular benefited from being on network TV since it might have turned out differently if we were streaming, without the limitations we had. Instead of the usual soft-lit, writhing, and oiled bodies that we’ve seen countless times, we were able to present something more authentic and engaging.
Over time, through my acting career, I’ve developed quite an expertise in portraying intimate scenes. Recently, I had an unusual discussion with the intimacy coordinator regarding this topic. I recall watching a particular sex scene where a specific position was often filmed poorly.
In the TV series, they’re depicting sexual intercourse from behind, which doesn’t seem realistic to me. Typically, these scenes don’t convey the intensity and vigor I’ve experienced in real life. However, there was one scene that stood out; it appeared as if the actors were having passionate, unrestrained sex. This was due to a clever trick – they used a partially deflated ball between them, making their movements look natural without being obvious. I was amazed, thinking, “That’s genius!” Sadly, I can’t believe I didn’t think of this myself. But it has truly transformed the way sex scenes are portrayed on screen.
In essence, due to the intricate rules about touching and the number of people involved, this unique arrangement of a throuple enabled us to delve into the dominant role she was assuming over these two men. Instead of just a mass of bodies entangled together, I found this dynamic far more captivating. This setup encompasses our three main characters: an older man, a younger man, and a woman shaping her fantasy in real-time.
Nowadays, we’re highly cautious about portraying women in sexually submissive or exploitative roles, which has also prevented us from showcasing women in sexually dominant positions and examining power dynamics – a crucial aspect of sexuality. This restriction has significantly impacted the exploration of such themes in storytelling.
Have you ever considered how I react to being referred to as a sex symbol, given my long career spanning three decades? Frankly, it’s flattering, yet it doesn’t quite align with my personal image. Regardless, I’m grateful for the opportunity to continue working and for the audience that continues to support me.
Are you ever made to feel like an object or reduced to a stereotype? Absolutely, I can confirm that’s a significant aspect of our experiences, as we find ourselves in predominantly white environments about 90% of the time.
Given your extensive experience across various stages of television production, what insights have you gained throughout your career?
On our series, we strive for an ambitious scope that even Fringe, at its most ambitious, might not have been able to achieve. Ryan is exceptionally disciplined with the length of his scripts. On Fringe, due to the extra material we were shooting, we had to streamline our production process, which in turn influenced the final product. In contrast, Odyssey has episodes that actually required additional scenes, a situation I’ve never encountered before. Ryan’s philosophy is: we won’t waste work, providing us with more opportunities to be ambitious. Unless most problems are resolved during pre-production, we may not even get a chance to produce the show. Therefore, it’s crucial to thoroughly edit the script before it reaches the set. In Ryan’s world, the era of “shooting excessively and then cutting it down” seems to have passed. Instead, our aim is not to send unstructured footage to the editor and hope they can create a show out of it.
I’m more interested in the technical aspects related to medicine within this context. However, it’s important to note that this isn’t strictly a medical series as one might think. While I drew inspiration from George Clooney’s portrayal in ER, my approach was to convey emotion through the eyes without overtly smiling and build upon that foundation. Essentially, that’s the essence of our show, and we’re not creating something similar to The Pitt.
You’re using a gold-trimmed MRI device, reminiscent of an Art Deco Apple store, in the medical facility.
To succeed with our show on Thursday nights, we rely on viewers trusting the experience and joining us for the journey. Essentially, we aim to provide a captivating hour-long adventure every week, portraying it in earnest fashion to enhance your viewing pleasure. It’s not intended to be humorous or ironic. If we were to blur the boundaries between reality and fiction, the whole thing would unravel. However, don’t expect our show, Doctor Odyssey, to offer extensive medical knowledge; there are other programs designed for that purpose.
Among all the patients I’ve encountered so far, who has been the most memorable for you? Over the first few episodes, we were fortunate enough to have some outstanding comedians join us as guests. Characters like Rachel Dratch and Amy Sedaris brought their unique talents to the table, creating characters that bordered on the absurd. Watching them perform was a delight. And then there’s our main cast, who keep everything grounded. In one episode, Angela Bassett, known for her stern character on 9-1-1, appeared in ball gowns and jewels, playing poker with us. I had the pleasure of flirting shamelessly with her, and she was simply fabulous.
In one of his recent performances, Don Johnson exudes an enchanting twinkle in his eyes. What’s it like watching scenes with him?
The other day, I witnessed a scene where Don was portraying a serious captain and he glanced back at us with a sly grin. I even heard Sean Teale chuckle behind me. I’ve acted in many roles where there’s no luster, it’s all heavy, much of it is just pain and misery. It can be quite draining to put yourself through that emotionally. For us, the sign of a well-played scene is “Did you find it enjoyable?”
Have you ever encountered a TV show or episode that left you utterly astounded? The “Quackers” episode, for instance, had me questioning its authenticity at first. But indeed, it was real! Then came the scene with the duck in the necrotic bowel, which I found absolutely revolting. As I worked on it, I thought to myself, “This is beyond the pale for television.” Surprisingly, however, it made the cut. The actual procedure we filmed was far more gruesome than what you see on screen; only a tiny fraction of the real goo and ooze ended up in the final edit. Despite my general resilience during filming, that scene was genuinely nauseating.
Clues suggest that Doctor Odyssey’s themed sailing schedule may include a week dedicated to Broadway.
Are we about to have a Broadway Week special on Doctor Odyssey?
If you could somehow work “Pippa Soo demands Broadway Week on Doctor Odyssey” into this piece, it would be fantastic. All year long, I’ve been saying that the next episode will surely be Broadway Week. It’s hard to believe we made it through the season without it. With Phillipa Soo, one of the shining voices of Broadway, on our team, I’m ready to give singing a try. And if it means breaking into song and dance for an episode with no connection to the storyline, I’m all in! The Odyssey is all about pushing boundaries, after all!
Have you considered if there are any additional special topics we should focus on, or is there perhaps a Pirate-themed week that we have agreed upon?
Does your little girl grasp what you’re involved in?
Indeed, she has a general understanding that I’m employed in the realm of pretend, and she’s visited my workplace on two occasions so far. The first time was during the initial filming at a real cruise ship in San Diego, complete with a colossal pirate vessel. During that period, we were deeply enamored with ‘Moana’, and I thought she would be enthralled. However, to my surprise, she preferred staying in the trailer. Fast-forward nine months, I brought her to work after school, and she seemed more interested. As for how much enthusiasm she’ll maintain as she grows up, it remains uncertain. Sets are not ideal places for young ones. To the extent possible, I plan on continuing to be Dad.
Have you been keeping an eye on how the series has been received?
I’ve been giving it a moderate amount of attention, really hoping that the response will be strong enough to warrant another season. I make an effort not to get too caught up in it for my own mental health, but I did delve quite a bit into the “This is purgatory” theory because I think it’s hilarious, and if true, would be fantastic. I wholeheartedly support it, one hundred percent.
I’ve been building up to this question all along.
Only Ryan has the power to decide that matter, and he seems to like the idea. Our writers are active on those message boards, stirring things up, but they might just be setting the stage. I’m not entirely sure, but I hope to find out a couple of weeks before everyone else if it goes as planned. Honestly, I think it would be hilarious because then we could do wild things. Are we in Dante’s Inferno? Are we going through the seven circles? Are we in purgatory one season, then it’s hell, then we’re in heaven?
As a cinephile, I’ve found myself in conversations that liken the latest blockbuster to Homer’s Odyssey on Reddit. But let me set the record straight, Mr. Nolan – we moviegoers were sailing those epic waters long before you embarked on your cinematic journey!
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2025-04-03 18:56