As a seasoned television writer and producer with over three decades of experience under my belt, I must say that the collaboration between Robert and Michael on Evil has been nothing short of a breath of fresh air in today’s fast-paced streaming era. Their ability to weave intricate narratives while maintaining a keen sense of social relevance is truly commendable.
Following a four-season span filled with disturbing demonic possessions, intimate liaisons with monstrous beings, and Sister Andrea mercilessly fighting off succubi, the series titled Evil concluded its broadcast.
Or has it?
Following the resolution of the writers’ strike, I discovered that our beloved series wouldn’t be returning for a fifth season on Paramount+. However, they decided to compensate by adding an extra four episodes to the original ten-episode run of the fourth season, giving creators Robert and Michelle King the chance to bring the story to its conclusion in their own style.
That finale, “Fear of the End,” dropped this week on Paramount+ and revealed that the work started in New York by the demonic assessment team of Father David Acosta (Mike Colter), psychologist Kristen Bouchard (Katja Herbers), and technology guru (and deep skeptic) Ben Shakir (Aasif Mandvi) will move Italy, where David and Kristen are stationed at the Vatican. It also finally showed us a meeting of the 60, the shadowy organization that represents the various demonic houses attempting to destroy the world (admittedly without much luck), over Zoom.
As a devoted fan, I can’t help but marvel at how “Fear of the End” wraps up the suspenseful supernatural saga with its distinctive blend of humor. It’s truly unique to witness a nun challenging a hairy demon, playfully giving him a nose boop! The show leaves just enough mystery to hint at a potential comeback for the evil forces, something the talented Kings – the dynamic duo behind an impressive collection of captivating television series including “The Good Wife”, “The Good Fight”, and “Elsbeth” – are optimistic about. Robert shares their eagerness, expressing, “We’re here, we’d love to create more if given the chance.”
Perhaps evil isn’t as straightforward to overcome. Instead, it can be scrutinized and debated, beginning with the enigma surrounding Kristen’s son Timothy, whom some speculate could potentially be the Antichrist.
In the climactic scene of the series, Timothy shows signs of being unsettling, with his sharp teeth and eerie gaze. Until then, we assumed he was all right because Sheryl had baptized him. Isn’t it intriguing that…
Everything’s delightful in Rome. The children are dressed up quite charmingly. It all appears joyful and endearing, and perhaps there is a promising future for Kristen and David. But then there’s an unexpected twist – the baby might just be what Leland suggested: the Antichrist.
Michelle King: I believe there’s also a query regarding the extent to which love can bring change. Unlike most depictions of the Antichrist, this character has a genuinely caring mother. To what degree might her affection aid him?
Was it your intention, when concluding the series, to leave room for potential future continuation of the story?
RK: Is there a chance we’ll see it as a movie? I can’t say for sure. What resonated with us was the depth of the relationships and characters. Instead of wrapping things up neatly, we wanted to leave room for more. It’s like a hint at what could come next. It could be developed into a series, a movie, or even a late-night sock puppet show between Michelle and me. But there are ways to make it work.
We aimed to create a conclusion that would be fulfilling for viewers who’ve followed the series for nearly five seasons, while also keeping open the possibility for further narratives, if such an occasion arises.
When exactly did you become aware that there would only be four additional episodes instead of a whole new season?
RK: Upon returning from the strike, we discovered there wouldn’t be another season. George Cheeks, CEO of Paramount Global, and David Stapf, president of CBS Studio, informed us that they wanted to produce four more episodes since the series hadn’t been given a proper conclusion previously. We wrapped up the final six days of episode ten (the one in which Christine Lahti passes away) in December, and then reconvened the writers’ room in January with the intention of commencing production on the last four episodes at the beginning of February.
MK: It was a nod to how much they liked the series that they made sure to give it a proper ending.
RK: Was there a broader story arc for more episodes that you initially planned and then trimmed down? For instance, we had an idea where Denis O’Hare would play the role of a security expert for the Vatican. There was a series of intriguing interactions between Leland and David in which David feigns, or perhaps doesn’t feign, doubts about the church. Leland then takes advantage of this situation, but it becomes clear that David is playing a double game to share information with Denis O’Hare’s character. David is unsure of the Vatican’s security and believes he’s being manipulated, yet he also senses there may be something sinister within him, possibly planted by Leland.
Instead of prolonging the court case against Leland, we planned to extend our satire beyond what we’ve depicted in “The Good Wife” and “The Good Fight.” This new satire would be set in a world where Trump avoids consequences, making it simple to manipulate the legal system for personal gain.
We’ve condensed it significantly. What we wanted was to incorporate some of the witty legal banter from shows like “The Good Wife” and “The Good Fight,” with Richard Kind playing a role, but this time, he goes all out in portraying an evil character instead.
Aren’t they playing two distinct characters, given that their names are dissimilar?
As soon as he decapitated the witness testifying against Leland for his murder trial, I let out a startled and shocked gasp.
I gasped and then I laughed.
MK: Yeah, it’s meant to be funny, too.
It wasn’t something he had anticipated, but Richard Kind ended up doing it.
Were you constantly seeking instances to surprise the audience with a blend of shock and amusement in mind? In other words, were you striving to find that perfect balance where humor serves as a means to make the horror more palatable, just like how American Werewolf in London successfully combined these elements? If so, I believe Evil was aiming for something similar.
Why did the Vatican decide to reinstate the assessor program following its removal? It seems that the Vatican recognized the crucial role David played for them and wished to meet his expectations. Additionally, Pope Francis, known for his progressive administration, has a unique emphasis on hearing confessions from his cardinals. Previously, the cardinals were considered too elevated to listen to everyday people’s struggles in confessional booths. However, the assessor program represents those very day-to-day problems and provides insights into the lives of people across the world. As such, it serves as an essential tool for identifying issues within society, even within the Roman Catholic Church itself.
In “The Good Fight,” when Audra tells Christine, “Stop dwelling on our actions that led to negative outcomes. Instead, focus on the individuals you’ve personally assisted.” Essentially, it’s David and the church coming to terms with, “You need to witness the people we’re helping directly.”
Could you refresh my memory about your religious beliefs?
MK: Robert regularly attends church as a devoted Catholic, while I identify more with the non-religious aspects of Judaism.
As an admirer, I’ve been deeply captivated by Flannery O’Connor and her unique storytelling. Despite being a devout woman, she masterfully explored themes of great wickedness, villainy, and the unusual. Although we’re far from her level of creativity and genius, I believe if our show could authentically present perspectives on both sides of complex issues, it would significantly enhance its appeal, mirroring O’Connor’s approach.
In the series, it seems like you’ve intentionally left ambiguity about where the church stands regarding its scandals, which have been hidden but are now being exposed. Is it going to keep hiding them or bring them into the light?
RK: The central theme we explored was, what’s unique about evil today compared to historical periods like Dante’s or post-World War II? While there might be fewer physical deaths, it seems that evil is more connected and influencing each other. This connection is evident in the real world, such as Elon Musk interviewing Trump, and even extends to virtual reality where the mere threat of its use makes us question our own reality. We found this concept intriguing because the show portrays demons as part of our world. However, it leaves us pondering whether the presence of these demons in our world is due to a psychological aspect or if technology is enabling them to be metaphorically present now?
How did the prevailing political climate influence the style I chose for the show? The series has a magazine-like approach rather than a headline-driven newspaper feel, and it could have remained pertinent regardless of which administration was in power. It’s not just evil that arises under specific political parties.
The series revolves around our lives being dominated by screens, reminiscent of the TV show “Black Mirror.” However, it introduces an extra layer – the manipulation of innocence. The narrative is heavily influenced by the daughters’ experiences and the sinister intentions of the world. Kristen’s role is to shield them from the corruption of a world that doesn’t respect their innocence.
As a longtime teacher and parent, I can attest to the fact that children are natural storytellers, often embellishing or exaggerating their tales for the sake of entertainment. However, this doesn’t mean they should be encouraged to lie outright. Instead, it’s important to guide them towards honesty by setting a good example and providing them with age-appropriate explanations about the importance of truthfulness.
Did you have any additional references in mind during the finale’s bonfire scene where they destroyed the assessment files that didn’t make it into the final cut?
RK: I don’t think so, offhand. The editing process was quite meticulous there. We aimed for a fast-paced feel in the scene, which seemed fitting given its loose nature. Shooting those scenes was particularly challenging. The prop department collected all the photos from earlier episodes to be burned, but due to difficulties with night lighting and our artificial fire setup, we had trouble capturing it effectively. The only thing we missed out on, I believe, was the actual content of the burning items – like “Pudsy’s Christmas” photos. I think we managed to secure all the guest stars we desired, such as Fenna, the nun, who was crucial for us to include in the scene.
In season two, Fenna, the nun who befriended Kristen, proved crucial in the finale. Originally, it seemed her presence signified Sister Andrea wouldn’t be alone at the church, despite being mute. However, as the plot unfolded, it became unclear why Kristen wasn’t present. To address this, we decided to keep Katja on set late so we could film their reunion. There was an undeniable connection between Fenna and Kristen, a bond that transcended modern notions of attraction. It wasn’t about romance; it was more like two kindred spirits who, if they could communicate, would have shared much. This dynamic felt essential, perhaps because we wanted to revisit the charm of their earlier encounter in the finale.
RK: The Doppel app has been a recurring theme in recent episodes. Is it based on something currently available or could it potentially emerge in the future? In truth, there’s an intriguing fascination with doppelgängers among our team – if we had more episodes, these doubles would have played out as alternative paths not taken. When something happened to them, our characters would feel both psychological and physical repercussions, much like manipulating voodoo dolls. Originally, we had a comprehensive plot for the doppelgängers, but when we realized we only had four episodes, it proved beneficial to give our main actors a respite, as their doubles were essentially representations of themselves in real life. Katja is Dutch, Asif is with his actual wife and son, and they thoroughly enjoyed embodying these roles.
As a seasoned writer with years of experience under my belt, I can confidently say that when we embark on a new season, there’s always a sense of excitement and anticipation. We have a gut feeling about the four or five key themes we want to explore. However, as we gather in the writers’ room, these ideas become a collaborative effort, blending with the thoughts and suggestions of our fellow writers. The process is akin to building intricate cases that subtly contain our underlying premise.
MK: And their own obsessions.
I: I was fully aware that we were heading towards a location where corruption seemed rampant, as the darkness appeared to be spreading. Prolonging the anticipation with frequent meetings numbered 60 was engaging, but eventually, it was crucial to bring about the actual realization of those gatherings.
MK: I don’t believe that a four-episode season falls short in any way. We produced the episodes we intended to create. Of course, there were other options, but I don’t feel shortchanged and I don’t think the audience will either.
RK: The only problem in general for the streaming universe we’ve all jumped into with both feet is it’s a compacted way of looking at creativity. You’re collapsing down and not allowing yourself to more intuitively explore the subjects. When you were doing 22 episodes a year, you could create whole universes. And then knowing you are going to have more seasons, you could play. I am a little worried there’s like, No, no, don’t play. Focus, focus, focus.
On many series, a movement like the ’60s might have been vanquished by the finale. However, we wanted to emphasize its ongoing presence as a symbol of persistent evil.
In a different perspective, one might find it disheartening that technology often serves as a tool for malevolence rather than goodness, given how effortlessly evil can infiltrate minds compared to the hard work required for good. There’s a sense of optimism politically, but when these narratives were being crafted, we were immersed in a period of profound darkness, and it remains so. It seems somewhat naive to claim victory with a statement like, “Yes, they managed to detonate the bomb.”
What struck me most was when they visited the church and received a note saying, “Welcome, allow me to present the impending evil in New York.” Upon opening it, they discovered that the threat targeting the Vatican’s associates or enemies was actually referring to them, revealing their own adversaries as the very embodiment of the wickedness they aimed to thwart.
With Evil gaining popularity on Netflix, it’s clear that more and more viewers are discovering it. This surge in viewership could potentially affect the decision-making process for someone investing in another season. Whether or not this is the case, creatively speaking, there certainly seems to be more story left untold.
It’s clear that the show has seen significant improvement since its release on Netflix and Paramount+. We continue to express our eagerness to produce more content and believe that these talented actors are worth retaining. Moreover, the team behind the scenes was exceptionally skilled as well.
As a dedicated team member, I often find that the vital role of the crew in the creative process gets overlooked by showrunners. When a movie wraps, everyone scatters, but with a series, it’s more like traveling together as a family. The strike, and then continuing for four more seasons, felt like a wonderful reunion, yet I can’t help but feel the void left by their absence. Each crew member enriched our work in unique ways, contributing spontaneous ideas that made our set a dynamic, creative space.
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2024-08-23 16:55