Dirty John is incredibly frustrating, but quality actresses make an unbelievable survival story seem all too realistic on screen.
This week's pipeline from true crime to entertainment culminated with the finale of Bravo's Dirty John, which aired Sunday.
While the miniseries is not the first podcast to be adapted to television (HBO's 2 Dope Queens and Amazon's Lore and Homecoming are notable examples that predated it), the show marked the first true crime-turned-podcast-turned-TV-drama. Based off the #1 podcast of the same name, the eight-episode first season features Connie Britton giving a painfully believable portrayal of real-life mother Debra Newell, a highbrow interior designer and four-time divorcee in her late 50s. While she thinks she's met the perfect man online, Dr. John Meehan (Eric Bana) soon reveals himself to be a conman and unrepentant asshole with a penchant for mood swings, drug binges, and entreaties for forgiveness—which Debra grants, again and again.
Created by Alexandra Cunningham and directed by Jeffrey Reiner, the show excels in its depiction of sheltered Californian socialites. Debra is portrayed as a blind optimist who resists the reality of John's physical and emotional threats to her family, despite glaring red flags such as threats to shoot her daughter in the head and his escalating possessiveness over her—and her finances. Additionally, Debra endlessly coddles her two adult daughters, Veronica and Terra, entitled millennials played by Juno Temple and Julia Garner, respectively. Both girls are very privileged, very blonde, and very distrusting of the new man in their mother's life. Most apparent in all three women's performances is that Britton, Temple, and Garner even capture the child-like vocal fry of the real-life Newell women, whose voices feature in the Dirty John podcast.
Temple, in particular, excels as the brash and abrasive older daughter whose genuine concern is muddled with her elitist offense that a lower class outsider has insinuated himself in her family's inner world of designer bags and luxury penthouses. In contrast, Garner's performance as the younger daughter is kept intentionally low key and peculiarly infantile.
However, for the finale, the show doesn't hold back in re-enacting John Meehan's knife-wielding attack and attempted abduction of Terra Newell, the family member whom we're led to believe is the weakest and most vulnerable. Here, the show's greatest gamble is hinging the entire climax on the subtleties of Terra's personality, which suddenly manifests as a self-assertive and independent survivor—who stabs her attacker 13 times in the parking lot outside her apartment, rather than be dragged into the trunk of his car. The transformation is almost unbelievable—except that part actually happened. In 2016, the real John Meehan died of his injuries in the parking lot where he attacked her. The real Newell girls even suspected that John would target Terra, believing her to be weak. In the show, Garner's nuanced performance is what makes an unbelievable survival story seem believable on TV in a triumph of fight-or-flight instinct.
As for the real Debra Newell, she wanted her story told as a cautionary tale of the perils of both online dating and blind devotion. She commented on the series, "It's a story to tell others to make them aware of what could happen to them. You almost have to remove yourself a little bit." In her personal life, Debra still calls herself "a naturally happy person," but it took the tools of time, therapy, and the removed sense of media to see her story clearly. She said, "[Therapy] had so much to do with being able to be healthy again. I had a lot of guilt at one point. I had to learn [the mechanics of] what had happened to me." But she's a fan of Connie Britton's portrayal. Debra praises, "She got my voice and my mannerisms down perfectly. I was in a dangerous situation, and there wasn't a lot of opportunity for Connie to show the lighter side of me — I'm not always that nice or serious!"
Debra and Terra NewellToday Show
Yet, the show isn't exactly sympathetic towards Debra. To be clear, Dirty John is incredibly frustrating. But that's largely due to the incensing nature of the late Meeham's crimes and manipulations. His history of deception, impersonation, and conning every woman in his life (including his own family members) is perhaps the heaviest focus of the series. Debra, the character, is less important; her previous marriages aren't explored, while her naivety often is, and her family's Southern Californian ethos gives off plenty of Mean Girl vibes to provide comic relief. Above all, her initial refusal to doubt John is frank and infuriating, but it's primer for the show's midpoint climax; Debra's conflict foreshadows her decision to take John back even after her family presents proof of his elaborate lies, which include wearing stolen scrubs every day to allege he's a doctor and waxing morose about traumatic deployments in Iraq despite never serving in the military.
Dirty John is a concrete depiction of how unexpectedly, eerily enthralling it is to be under someone's "coercive control." One of the reasons the podcast garnered over 33 million listeners in the first place is because of how relatable Debra's experience is. Because of course Debra didn't think of herself as a vulnerable target. "Remember," she said in an interview after this week's finale, "it's Hollywood. First of all, I don't feel desperate. I think that it's very natural to want to have a companion and to be in love." She reflected, "It really helped relieve me, to some degree, knowing that it is such a common thing, unfortunately. But I now know what happened to me and that it could happen to anyone."
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Animation is lame and live-action is awesome.
Everybody loves Disney live-action remakes.
In a world plagued by racism, disease, and a seemingly endless bounty of spiraling misfortune, at least we can all agree that Disney knocks it out of the park every time they dredge up an old, animated movie for a live-action makeover because cartoons are for babies.
Sure, some of us thought the original Beauty and the Beast was fine, but could lame, 2D Belle ever hold a candle to 3D Emma Watson? And yeah, the original Lion King was okay, I guess, but there's nobody in the world who preferred cartoon Scar's rendition of "Be Prepared" to the incredible feat of getting a real lion to sing it in the live-action remake.
Being a Disney fan can be hard sometimes, as you have fond memories of beloved childhood movies but also don't want people to make fun of you for liking cartoons. That's why, out of all the corporations in the world, Disney is undoubtedly the most selfless, willing to spend hundreds of billions of dollars to bring their old, outdated movies into the modern age—all for the fans.
After Halle Berry walked back her consideration of playing a transgender character, we look back at how Hollywood has repeatedly fumbled trans representation.
Halle Berry has made headlines this week after turning down a role in which, had she gone through with production, would have represented a transgender man.
Berry, an Academy Award-winning actress known for roles in films like Monster's Ball, Catwoman, and Gothika, took to Twitter Monday night to apologize for considering the role. "Over the weekend I had the opportunity to discuss my consideration of an upcoming role as a transgender man, and I"d like to apologize for those remarks," Berry wrote. "As a cisgender woman, I now understand that I should not have considered this role, and that the transgender community should undeniably have the opportunity to tell their own stories."
The post continued: "I am grateful for the guidance and critical conversation over the past few days and I will continue to listen, educate and learn from this mistake. I vow to be an ally in using my voice to promote better representation on-screen, both in front of and behind the camera."