How ‘No Good Deed’ boss Liz Feldman explores loss in a real estate murder mystery
As I delve into the captivating world of Liz Feldman, a powerhouse in the realm of television, I am struck by her remarkable ability to navigate the complexities of human emotions and real-life challenges with grace and empathy. Her dedication to her actors’ well-being, particularly during trying times, is nothing short of commendable.
This article contains spoilers for Netflix’s “No Good Deed.”
During the initial phase of the COVID-19 pandemic, it felt peculiar to be confined at home. Homes across the nation underwent unexpected transformations: Bedrooms morphed into makeshift offices, kitchens served double duty as Zoom conference rooms, and living rooms were repurposed as virtual classrooms. Furthermore, TV writer and producer Liz Feldman, who was in a production standstill on her Netflix series “Dead to Me,” found her home — much like many others — assuming an almost mystical role as a refuge against the rapidly spreading virus.
Under the strain of everything, Feldman found himself immersed in an iconic pastime during the pandemic – browsing houses on Zillow.
She admits that when it’s dark outside, she often ends up exploring properties online through Zillow, as if she were visiting other people’s homes from the comfort of her own.
Eventually, her strong desire evolved into a quest for knowledge – research. As they found themselves cramped in their bungalow-like home, Feldman and her spouse started looking for a more suitable living area.
As we explored numerous locations, each new doorway seemed to hold a tale – not necessarily a cheerful one, given the somber period. I sensed that there were profound reasons behind people’s decisions to sell their homes, and equally compelling reasons for them to buy and depart from their current residences. It struck me as an opportunity to weave together a rich tapestry of intriguing, interconnected stories, centering them around the process of buying and selling a single house.
Television
In the dark comedy created by Liz Feldman, currently available for streaming on Netflix, Lisa Kudrow and Ray Romano take on leading roles. The story revolves around the world of real estate and the intricate connections between various characters’ lives.
The strong emphasis on the concept of “home” served as the foundation for her upcoming Netflix series titled “No Good Deed.
This dark comedy serves as a stage for a potential murder enigma, yet it’s no surprise given Feldman’s oeuvre, as the competitive housing market provides an intriguing setting that subtly delves into themes of grief in a profound manner.
The series follows Lydia and Paul Morgan, played by sitcom heavyweights Lisa Kudrow and Ray Romano, as a married couple looking to sell their stunning Los Feliz home following the death of their teenage son. Prospective buyers for the dream home include three families: their neighbors, a washed-up actor and his philandering trophy wife (Luke Wilson and Linda Cardellini, who worked with Feldman on “Dead to Me”); a lesbian couple (Abbi Jacobson and Poppy Liu) struggling to conceive; and newlyweds (Teyonah Parris and O-T Fagbenle) preparing for the arrival of their first child. Denis Leary also stars as Paul’s brother.
In a recent video call from her home in Los Angeles, Feldman spoke about revisiting grief in her storytelling, the finale’s twist, and finding the right home to hang a series on. The following conversation has been condensed and edited for clarity.
In ‘No Good Deed,’ the story explores themes of grief, parenthood, and infertility, topics you’ve previously addressed in ‘Dead to Me.’ Was there any lingering narrative that prompted a return to these themes?
Instead of intentionally creating a work centered around grief, parenthood, or infertility, I aimed to explore the lengths individuals will go to care for and support their loved ones. This journey led me back to some recurring themes in my life, which seem to persist as I grow and create. I sought an occasion to demonstrate that same-sex couples share the same dreams, difficulties, sorrow, and hardships as everyone else, and it felt fitting to do so here. Previously, I’ve discussed miscarriage and pregnancy loss, but what I hadn’t seen before was a same-sex couple discussing their shared infertility struggles. With current events focusing on IVF, reproductive rights, body autonomy – the topic is both relevant and crucial.
As a movie critic, let me share my perspective on this captivating tale of a couple, portrayed by Ray and Lisa, who found themselves at odds due to one’s desire to sell their home and the other’s reluctance – a scenario we often encounter in our personal lives. The contrast between their feelings was masterfully depicted, with Lydia deeply connected to the house as it holds memories of her son, and Paul driven by the need to sell for equally emotional reasons. This narrative tension struck a chord with me. Initially, I didn’t intend to delve into themes of grief in my reviews, but this story compelled me to reconsider that choice.
For a dark comedy, convincingly selling a story about grieving parents struggling to sell their home where their son died might not be a walk in the park. So, how did you present it?
During my work on “Dead to Me,” the recurring query was about the show’s tone. Given that it was an unconventional expression of my own unique style, which hadn’t been fully explored in this manner before. Of course, there were frequent instances where doubts arose [while working on “No Good Deed”], such as “What is the purpose here?” My response was always based on how I envisioned it in my mind. I’m not afraid of exploring dark themes, but I also strive to highlight the glimmers of hope that emerge. After spending a decade writing multi-camera sitcoms, which I thoroughly enjoyed and appreciate, this presented a fresh challenge. It was immensely rewarding to be free from those restrictions, allowing me to say, “This doesn’t necessarily have to be funny. This doesn’t need three jokes per page.” Instead, my aim has been to create something that feels authentic.
Television
Liz Feldman, the mastermind behind Netflix’s “Dead to Me,” shares insights on how the coronavirus pandemic has transformed her personal life and influenced her perspective on the series.
As the story progresses, viewers initially assume that Lydia and Paul’s child unintentionally shot their brother, which they concealed to shield her from blame. However, a surprising revelation unfolds: it was Margo, portrayed by Linda Cardellini, who pulled the trigger.
In our story, we decided to incorporate an unexpected twist to mend the family, ensuring no one was entirely at fault for past events. Initially, we presented Jacob Morgan’s death as something else, hinting at a second shooter, much like the Grassy Knoll theory. Although it may seem far-fetched, our role as writers is to make this twist plausible and plant subtle clues throughout the narrative to suggest it was always part of the plot. It’s essential to understand that the person ultimately responsible for the events remains accountable, just as Maya Angelou said: People show you who they truly are from the beginning; it’s crucial to pay attention.
When did Linda know she was the culprit?
From the start, it seems she had already figured it out; I believe she was aware even before joining. I presented the entire season’s plot to her. However, unlike others, she wasn’t clued in as early. Yet, during filming, Ray and Lisa didn’t require prior knowledge since their characters weren’t privy to the information. There’s an interesting aspect to this. When we were a handful of episodes into shooting, I eventually shared all the details about what transpired with Ray and Lisa.
Television
Christina Applegate and Linda Cardellini recently discussed with The Times topics such as Applegate’s multiple sclerosis diagnosis, the enigmatic finale of Netflix’s dark comedy series, and other interesting points.
Talk to me about finding the house. This is the house of my dreams.
During the process of hiring Stephenson Crossley as our location producer, I emphasized the need for an extraordinary home, one that would instantly evoke an emotional reaction. After viewing numerous houses, we stumbled upon what we later named “The Morgan House,” which possesses a unique and inviting aesthetic. Its corner location and two welcoming wings create a sense of beckoning. The house also boasts a striking arch above the doorway adorned with ivy or creeping figs, earning it the nickname “The Eyebrow House.” Upon seeing it, I felt an immediate, physical connection and realized that this house could serve as the perfect backdrop for our show. Whether you appreciate its style or not, everyone can understand why someone else would desire such a unique residence.
As a movie enthusiast, I’d like to share some behind-the-scenes insights about our film set’s most captivating character – the house itself. While its exterior was based on reality, our brilliant production designer, Nina Ruscio, and the art department breathed life into its interior, transforming two stages into a fully functional abode. Every room seamlessly connects, complete with working plumbing and distinct floors. It’s not just a set; it’s a living, breathing character in our story. In the early drafts of the script, I likened this house to an old Hollywood starlet, giving it a unique personality that truly came alive on screen.
Was the conclusion of the show designed to allow it to end, yet leaving some unresolved aspects that could be further developed? When creating the storyline, did you envision it as a standalone series or one that could continue?
Here’s my suggestion for paraphrasing: I believe there’s an exciting prospect to continue the series, and I’ve got a solid vision for Season 2 that I find intriguing and unpredictable. I’m really looking forward to revealing these plans to Netflix.
Production for the show commenced shortly following the conclusion of the Hollywood strikes. Were there any adjustments made to the initial narrative of the series due to this event? Moreover, what was it like working on set after such a significant period for the artistic community?
Approximately a month before our writing room was scheduled to conclude, the strike occurred, catching us off guard as we couldn’t predict its duration. We had already cast many actors for the season, though not all, and were deeply invested in creating this new show with the talented group of writers, actors, and colleagues whom I hold dear. However, the sudden strike took it all away, albeit for a justifiable reason and a noble cause. Maintaining enthusiasm and creativity over an extended period can be challenging, and preserving freshness and clarity of vision becomes increasingly difficult as time passes.
I owe Netflix a big thank you. They provided us with additional time upon arrival, allowing us to regroup and rethink our approach, especially since we were dealing with a large cast. This extra time granted me valuable insight into how best to narrate the story. In particular, I recognized that it was feasible to eliminate certain characters from specific episodes, thereby ensuring more attention for those who remained. It became clear that not every character needed equal screen time for the story to be engaging and effective. In essence, the strike offered a fresh perspective, even though the major plot points didn’t significantly change due to it.
While watching the movie “No Good Deed”, I found myself reflecting on how, as a boss, you must have dealt with the situation of talented individuals facing and dealing with life-altering events during film production. For instance, Christina Applegate was diagnosed with MS but still managed to complete the final season of “Dead to Me”. Before shooting “No Good Deed”, Lisa Kudrow was going through Matthew Perry’s passing. I wonder how you handled these real-life challenges to ensure your actors remained mentally sound?
I’m deeply grateful for being selected as the showrunner in this unique circumstance by the universe, overseeing these talented actors during challenging times. Despite my eagerness to create an exceptional series, I prioritize the well-being of individuals above all else. For instance, my longtime collaborator Christina and I had a history dating back several years before our work together. I’ve known her for more than that. In every situation, my primary concern was always about her welfare, ensuring this experience was suitable for her. I reassured her frequently, “We don’t have to do this. I can walk away.” Yet, she persisted, and we took a break at one point, finding a balance in the middle ground.
In relation to Lisa, our friendship wasn’t as deep, but I strive to be kind to everyone. I simply aimed to be there for her. Her professionalism shines brightly, and she exudes warmth, which is clearly seen on-screen.
Currently, we find ourselves in an intriguing period, creatively speaking. The first time Trump was elected, there were many uncertainties about how his presidency would influence the kind of narratives TV networks or studios would be eager to produce or the tales writers would desire to craft. In this present moment, do you sense a heightened need to convey specific stories as a reaction to the current situation?
It’s a little hard to predict because it’s different this time. It’s tinged with so many other feelings, like disappointment and shock and heartbreak. I think there are themes that feel very present around this issue that I have written about and will continue to write about. I don’t feel particularly driven to write something that is overtly political, but I’m always interested in writing what is subversively political. I will continue to represent characters that I feel are underrepresented. Our pens are our swords, and it just compels me to want to keep writing so that people can keep sharing in an experience and be challenged to think differently.
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2024-12-13 14:33