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Penn Badgley says goodbye to ‘You’: ‘I can’t do this man anymore’

BBG News

This article contains spoilers for the finale of Netflix’s “You.”

Under various identities, he’s been Joe Goldberg, a bookstore manager in New York City; Will Bettelheim, an employee at a Los Angeles health food market; Jonathan Moore, a literature professor in London; and once more Joe Goldberg, this time as a husband, father, and philanthropist. Regardless of the name, he appeared to be the ideal partner, with his kind and thoughtful demeanor concealing a deeply disturbed and dangerous sociopath who would go to great lengths – including murdering close to two dozen people – to infiltrate the lives of the women who captivated him.

Now, Penn Badgley has discarded all his previous roles. The final chapter of the Lifetime-turned-Netflix series “You” was released on Thursday, marking the end of its fifth and last season. His character Joe has been convicted for the murders of Guinevere Beck (Elizabeth Lail) and Love Quinn (Victoria Pedretti). In the closing moments of the final episode, we find Joe with a shaved head, wearing a red jumpsuit, and reading Norman Mailer’s 1979 novel “The Executioner’s Song” in a prison cell. The last words of the series are delivered through Joe’s inner monologue, directly addressing the viewer.

I’ll need to remind you about them when we meet soon, just before the episodes get released,” I ask gently, in anticipation.

Despite sporting a short haircut, he finds himself in a waiting area at Netflix’s offices on Vine Street. Just as he prepares to ponder his character’s final thoughts, an urgent alert sound erupts from his phone. “Earthquake detected,” he announces, glancing at the message and displaying it on his screen. “Drop, cover, hold on. Protect yourself.” Such unexpected interruptions, especially when the atmosphere is tense, are how Joe manages to remain unnoticed. However, Badgely isn’t seeking an excuse to leave.

Since there was no immediate threat within our vicinity, he went back to pondering on Joe’s last remarks. (Note that this narration comes from an unreliable source, making it quite challenging.)

Television

In an open discussion, Sera Gamble, the mastermind behind Netflix’s suspenseful series, shares insights on the fewer intimate moments featuring Penn Badgley, the surprises in Season 4, and the necessity for a revamp of screenwriters’ agreements.

In the end, my punishment turns out to be far more severe than I had anticipated. The solitude, oh heavens, the solitude! There’s no prospect of comfort or relief, knowing this is for eternity. It seems unfair that all this burden should fall on me. Aren’t we all shaped by our surroundings? Wounded people often inflict wounds. I didn’t have a fair chance to begin with.

As an officer enters and pushes a letter from a fan under the bars of my cell, Joe continues: “Why am I trapped in this cage when so many disturbed individuals write me about the vile acts they desire me to perform? Perhaps there’s a societal issue at play. Perhaps the problem isn’t me. Perhaps it’s you.”

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In the end, my punishment is much harsher than I had expected. The solitude, oh my goodness, the solitude! There’s no sign of comfort or relief, knowing this is permanent. It feels unfair that all this hardship should be mine to bear. Don’t we all get molded by our environment? People who are hurt often cause harm. I didn’t have a fair start in life.

As an officer appears and slides a letter from a fan through the bars of my cell, Joe continues: “Why am I locked up when there are so many disturbed individuals writing to me about terrible things they want me to do? Maybe our society has a deeper problem. Perhaps the issue isn’t me. Perhaps it’s you.

Here are edited excerpts from the conversation.

As a film enthusiast, I must admit that the concluding lines resonated deeply with me. Throughout the course of this narrative, we’ve often discussed similar ideas, and it was fascinating to see them echoed in those final words.

Michael Foley and Justin Lo (the new showrunners for the final season) faced a challenging mission to bring this series to an end, questioning if it was even feasible. Despite the doubts, I believe they delivered a fulfilling conclusion, one that felt right. The narrative’s thematic resolution demanded this solitary and living protagonist. Although we may not witness his real-time struggles, he subtly hints at evading the situation, suggesting “It’s not me.

We provided as much resolution as the storyline could handle without disrupting it. The series concludes at a point that leaves one wondering, “Now what? How do we address male violence?” It’s a profound question that doesn’t have a simple answer, especially when we strive for fairness towards all parties and genuine justice. I believe the ending encourages us to lean towards accountability instead of shying away from it.

Elizabeth Lail and Penn Badgley in the first season of “You” on Netflix. (Netflix)

Madeline Brewer as Bronte and Penn Badgley as Joe in the final season of “You.”

Indeed, that’s what sparked my contemplation – is his fate aligned with his words? Was a death sentence fair retribution?

In simpler terms, what do you consider to be fair punishment for someone like this? We have options such as imprisonment, capital punishment, or torture followed by imprisonment; there’s also the possibility of getting away with it completely. The choices seem limited. If we were to kill him, that raises a lot of issues – primarily, is it just to make a woman take on the responsibility of doing it? That’s not fair, as it places an immense burden upon her, potentially scarring her for life. We’ve explored imprisonment; let’s consider other options. The problem is, people often view his tools as his weapons – in this case, the box. However, if you think deeply about it, he’s more of a charmer or seducer. And where he does the most harm is not out in the open world, but rather within intimate relationships – the proverbial bedroom. It’s there that he operates most effectively and remains hidden from society.

What’s important here isn’t about inflicting pain or seeking revenge. Bronte, portrayed by Madeline Brewer, didn’t intend to harm Joe in this particular instance. It’s the unexpected nature of her actions that gives a sense of fulfillment. Whether it aligns with ideological standards is questionable, but on a practical level, it feels right. Joe isn’t killed or spared from suffering. Instead, he’s imprisoned, which effectively removes his ability to commit further wrongdoings. This act essentially concludes any potential future storylines.

Had you given much thought to what your protagonist deserved?

Over a long period, the true culmination is everything leading up to that moment. It’s primarily the latter part of this final season and particularly the last episode that holds significance. The box represents the most evident aspect. Indeed, wouldn’t it be visually striking and potentially fulfilling to see him killed within the box? His character was exposed as a potential sexual predator for the first time in our perspective, and that was his underlying nature from the start. Regardless of right or wrong, the show opted to withhold viewers from making the visual connection of this behavior. If it were responsible, it was because it was encouraging the audience to question: What do you need to see? Is a depiction of sexual assault necessary for you to recognize this character as a predator? I believe we shouldn’t have to witness such acts. It was an exceptional instance in my life where I strongly insisted on being minimally clothed. The viewers should feel that the character is perilously close to transgressing, so that we may observe that critical moment. To apprehend him in that state, for her to capture him there, for us to witness his disintegration in such a way — that’s what the ending signifies, not merely about the prison.

I believe most people will appreciate it, but there are surely going to be some who won’t like it at all. Admittedly, you may have a valid point. However, consider how much effort goes into a writers’ room…you need to search under every rock. I feel what they achieved was truly remarkable.”

This version maintains the original meaning while using more natural and easy-to-read language. The text is also slightly shortened for clarity.

Experiencing that woodland shoot proved challenging to witness, as you’ve pointed out, due to Joe’s intense transformation.

In all honesty, I absolutely adored it. Kudos to our exceptional producers who meticulously planned and executed cost-effective solutions throughout the series, enabling us to create a cinematic final episode. The time afforded allowed for perfection. By that point, I was so engrossed that I hardly noticed the additional effort required. It was one of the most enjoyable experiences I’ve had during this entire series. I spent a significant amount of time in my undergarments, drenched in sweat, fatigue, and occasionally, blood. Each take, for approximately two weeks, demanded immense physical exertion, mostly from burpees. However, it transformed into an exhilarating endurance test. It was a fitting finale to the show. I believe Madeline [Brewer], who played Bronte, deserves recognition for her exceptional collaboration. Everything felt effortless and rewarding rather than challenging for the wrong reasons. I spent a fortnight in the woods at night, without a single insect bite!

After playing the role of the narcissistic sociopath character for five seasons, Penn Badgley has bid farewell to “You.” (Matt Seidel / For The Times)

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Penn Badgley, who portrayed a narcissistic sociopath character for five seasons on “You,” says goodbye. (Matt Seidel / For The Times)

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In the role of a narcissistic sociopath for five seasons, Penn Badgley has parted ways with “You.” (Matt Seidel / For The Times)

You’re lying.

I’m not. I wouldn’t say that. That would be crazy! I’m not even exaggerating. Not one.

How much distance have you had from Joe at this point?

We wrapped in August.

Did you still have the voiceover stuff after that?

Indeed, my work wasn’t completely done, and I had to return around two months later. On that final day, I didn’t realize it was the end. To clarify, the job has mostly been remote, with just a few exceptions like the initial season. So, I’m essentially working alone, with only two post-producers in my ear and an engineer. This setup symbolizes my solitary experience. It feels like “I’m here all by myself.” Granted, there are many people providing support, but it often feels as if Joe is a lone man confined in a box. We were engaged in something fairly ordinary for voiceovers on that last day. Because of its nature, I wondered, “Is this it?” That was an underwhelming conclusion to my experience.

Television

As a passionate film enthusiast, I must say that the latest Lifetime production, “You,” offers a chilling and thought-provoking take on contemporary romance that could subtly influence my future social media activities.

So, it wasn’t the narration with Joe’s parting thoughts?

In retrospect, the last words that echoed were actually the initial recording I made several months back. My tone, in hindsight, may not have been as forceful as some might anticipate. The final word is “you.” I could stretch that out significantly, but I found myself thinking, “I’m not going to give you another chance, because if I do, you will misuse it. I apologize, but this matter is of great importance to me. I’d rather stand my ground on this issue.” That was one battle, perhaps, that I decided to fight till the end.

The final clip I took was inside a prison. Interestingly enough, that was the same day I created that “modest” TikTok video. Here’s the kicker – Netflix is requesting something from me related to it. I had to hastily compile it because my first task for the project was to shave my head immediately. They suggested, “Oh, you can do it after rehearsals.” I replied, “I’m sorry, team. That would be a big reveal.

That evening, following my wrapping up, I embarked on a long drive to Long Island, intending to stay there for two weeks by the beach with my family. The tranquility was profound, almost deafening. It felt dreamlike, surreal. Those days marked a significant phase of my 30s – soon, I’ll be turning 39; they serve as a distinct marker in my timeline, symbolizing an era for me.

Did you keep in touch with Sera Gamble during the last season, even though she no longer held the position of showrunner but continued as a producer?

At first, she relied on Michael and Justin, just as I did. There wasn’t any gesture of holding hands symbolically. It was no longer her responsibility. Everyone was attending to their own tasks. I believe we exchanged messages quite close to the finish line. She might have had an experience similar to mine, but not at the same moment or location.

At the beginning of the new season, there’s a three-year leap forward in time. Joe, who’s now with Kate [Charlotte Ritchie], has managed to get his son back and has been living a relatively normal life. He’s made an agreement with Kate to resist his sociopathic tendencies.

It was nice to see them collaborating on something. If each event had lasted twice as long, it would have been intriguing to delve deeper into that scenario. However, we only got a couple of episodes showing them working together. Some of my favorite scenes involve her character; Joe seemed to understand her the most out of all characters. Her character possesses traits that could potentially unravel the entire storyline. Yet, she’s also similar to him in many ways, though not explicitly stated. If I could imagine an alternate plot, it would be interesting to further explore their relationship dynamics a bit more.

The show was in the works for a while, but it arrived at the height of the #MeToo movement.

While filming, the Harvey Weinstein accusations were being made public – at that time, they were merely allegations.

Back then, it seemed as though justice was finally being sought for men’s actions, with an effort to ensure they were held accountable.

And we did it! [he says sarcastically] Didn’t we?

Absolutely. There’s been a lot of thought about our current state and the direction of cultural change – whether it’s moving forward or taking steps back. Thus, “You” are departing at a particularly intriguing moment. What are your thoughts on this situation?

I’d like to clarify that my perspective is shared by many, as we strive to grasp complexity rather than simplifying issues into black-and-white scenarios. In our culture, we often react impulsively with a binary mindset, but it’s crucial for us to move beyond this limitation and embrace more nuanced perspectives.

In the context of this show, I find it fitting that we’re concluding rather than starting now. The current climate is distinctly different, and it appears people are more disillusioned than they were initially, particularly concerning gender inequality and women’s rights. This might suggest that our insights, along with countless others, have been validated.

The character of Joe may not have struck a chord if the issues portrayed weren’t complex and genuine. However, it’s essential to understand that this show was never intended to solve these problems; instead, its purpose is to shed light on them. And indeed, it hasn’t solved anything, but it has sparked conversations and encouraged reflection.

I guess that speaks to the point of his final words.

Indeed, and I must concur. What captivates me is his ability to shatter the illusion of the fourth wall, making it seem as if he’s saying, “I’m just a character, understand? I’m not real at all. Therefore, it can’t be about me because I don’t exist.” I find that intriguing. I believe the series elicits an unusual sense of well-being in its viewers. Admittedly, there might be a slight chance of error in my interpretation.

Tell me why.

In simpler terms,

1. I enjoy the last 20 minutes of the show, but I can’t quite explain why. The reason is that by the end, the main character becomes less intriguing. It feels like we’ve stripped him of his appeal. Are you really interested in seeing more of this character? I’m not sure how we could make it more appealing, but do you think so? Instead, they handed over the narrative to another character [Bronte]. What a clever move! This isn’t about the plot; it’s about the voice and the intimate scenes. The writer relies on these elements more than anything else to seduce us. However, we took away one of those elements and gave the other to her.

2. In his final scene with her, where she held him at gunpoint, I found myself struggling like never before. My neck muscles, where all my anger usually comes out, were giving out. I could barely speak or do anything other than force out my lines using just my diaphragm. It was incredibly difficult to speak above the rain. By this point, the character had become dull and uninteresting. He’s like a lizard, offering nothing. I could only recite my lines in gasps [he speaks in forced breaths]. I was exhausted, and I just thought, ‘I can’t take this character anymore.’ She has all the depth and complexity. She has plenty to express. Let’s move this character aside, please.

Have there been instances when you looked at Joe and felt, “I’ve recognized myself in him,” or read his words and thought, “That sounds familiar because I’ve been in similar situations before” or “I can relate to what he did…” In what ways did he reflect aspects of your own experiences?

Sure thing!

As an actor, my role was to allow myself to connect with the character and comprehend how we are alike. Of course, there are similarities between us since Joe is a fictional character created by various factors such as genetics and predisposition, but he’s also complex because he makes choices. Throughout this process, I was trying to understand how my own traumatic experiences resonate with his story, and grapple with my own feelings of sadness. We all have unresolved pain and grief that we may not acknowledge or express. Essentially, what I was doing unconsciously was exploring the anger and violence within myself. In the end, I couldn’t continue portraying him anymore because it became emotionally draining. I wasn’t consciously thinking about it; instead, I was experiencing it, and making those connections intuitively. In a sense, he was an extension of me, even though we are not the same person. Does that make sense?

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2025-04-24 23:37

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