‘The Day of the Jackal’ Director Sidesteps UnitedHealthcare CEO Murder Parallels, Breaks Down Decision to Kill Off [SPOILER]: ‘It’s About Growing the IP’

As a seasoned cinephile who grew up watching iconic thrillers like “The Day of the Jackal,” I must say that the recent series adaptation has been nothing short of a rollercoaster ride. The interplay between Eddie Redmayne’s enigmatic assassin, the Jackal, and Lashana Lynch’s determined detective Bianca Pullman has kept me on the edge of my seat week after week.

⚠️ WARNING: This article reveals crucial details from the final episode of “The Day of the Jackal,” currently available for streaming on Peacock and NOW. Proceed with caution if you haven’t finished watching!

In spite of some initial doubts about reviving a renowned property like “The Day of the Jackal,” the ten-part series featuring Eddie Redmayne and Lashana Lynch has been a major triumph for Peacock in the U.S. and Sky in the U.K.

Indeed, a follow-up season for the series, drawing inspiration from both Freddie Forsyth’s 1971 novel and the 1973 movie adaptation featuring Edward Fox, has already received approval.

In the final episode of the season, the intense chase between the enigmatic assassin, The Jackal (Redmayne), and his adversary, detective Bianca Pullman (Lynch), reaches its climax as they confront each other directly. Despite being surrounded by Pullman and her partner, in a surprising turn of events, The Jackal quickly eliminates them both and proceeds to his next assignment, deviating from the original storyline where it is The Jackal who perishes. Some plotlines remain open-ended, such as whether The Jackal will reunite with his wife Nuria (Úrsula Corberó) and son, or if he intends to seek vengeance on her for abandoning him.

Prior to the airing of the last episode, lead director and executive producer Brian Kirk held an interview with EbMaster. During their conversation, they delved into the contrasts between the book and the series, drew comparisons with the recent real-world assassination of a prominent business leader, and addressed the surprising choice to end Pullman’s character in the climactic final confrontation that has been eagerly awaited.

Were you worried about departing from the source material?

To be straightforward, I wasn’t apprehensive; instead, I was thrilled about the prospect. You see, I first witnessed the movie as a small child with my film-loving father. It was unlike anything I’d ever seen before. Intuitively, I sensed it was a significant work, a groundbreaking thriller, especially given my father’s reaction. I didn’t feel the need to replicate that experience. A remake in its original form wasn’t necessary, in my opinion. My excitement stemmed from curiosity about how Ronan would approach it. This offered an opportunity to create something fresh while paying homage to the original without merely imitating it. The story seemed primed for reinvention because it had a powerful narrative thrust, underdeveloped characters, and possessed a universal, archetypal energy.

How involved were you in the season finale?

I took part in a talk centered around the point that it’s Bianca who ought to perish, as well as a wider debate with showrunner Ronan Bennett about her journey leading up to this point.

Was the choice between killing off the Jackal and Bianca?

Indeed, the core suspense of this narrative lies in the fact that we have two characters whom we’re invested in, and the tragic twist is that only one can survive. At its most fundamental level, it’s this tension that compels us to keep tuning in.

So why did you ultimately decide on Bianca?

I believe the character of the Jackal has received such a significant focus and anticipation for its development, which was confirmed by the announcement of a second season. This expansion of the intellectual property felt fitting, as “The Day of the Jackal” is not about the person who kills the jackal but rather the jackal itself. I should also mention that this creative approach was Ronan’s idea; he thought it would be the ultimate twist to have the character who appears destined to die actually survive, contrary to expectations.

There are some uncanny parallels between the show – in which a charismatic assassin sets out to kill a CEO of a large company – and the murder of UnitedHealthcare CEO Brian Thompson earlier this month. In the same way audiences are rooting for the Jackal, there’s been a lot of discussion about the sympathy and even admiration people have for Thompson’s alleged killer. What do you think it says about society right now that we’re rooting for assassins?

To set the record straight, “The Day of the Jackal” is essentially a work born from imagination, stemming originally from a novel and later adapted into a movie. Rather than discussing it as a factual account or commentary on specific events, I prefer to view it as a symbolic representation of human actions, a form of storytelling that mirrors our behavior. To misuse this narrative as a basis for factual analysis or to claim expertise over it would be an injustice to the work itself and my own understanding.

Last week executive producer Gareth Neame said the feedback on the show was that “people just seem to be fascinated with the idea of this lone wolf assassin figure. I don’t quite know why this is, and [despite] the fact everyone’s saying that they feel slightly icky for rooting for him throughout, they do.” So why do you think audiences are rooting for Redmayne’s Jackal specifically?

As a cinema enthusiast, I find myself captivated by characters who are willing to put their lives on the line to be the best in their field, facing insurmountable odds with unwavering determination. It’s not just about dedication or artistic skill, there’s an element of ruthlessness, of being single-minded to a fault. They live in the now, fully immersed in their actions, a level of aliveness that many of us can only dream of experiencing. This is what makes these characters and their portrayers truly remarkable.

At that instant, as a character soars aloft, moral quandaries often seem to fade away, and it’s captivating because we find ourselves drawn towards this suspension. What intrigues me the most is not defining clear-cut boundaries between right and wrong, but rather exploring the reasons behind these events instead.

Will you be returning for Season 2 and what are the discussions around that?

Discussing Season 2 might prompt Lily, a Sky publicist, to contact someone known as the Jackal. In such a case, it’s likely that both of us would disappear from the scene before your story could be written.

This interview has been edited and condensed for space and clarity.

2024-12-13 17:16