Chris Hardwick's Blog, page 102

THE LAST OF US Season 2 Introduces Two New Factions: W.L.F. and Scars

The Last of Us‘ first season saw Joel and Ellie survive encounters with dangerous groups all across the country. From FEDRA in Boston and Kansas City’s resistance, to cannibal Christians in Colorado and Fireflies in Salt Lake City, the show’s wasteland is populated by countless organizations, each with their own agendas and means of survival. Now the series’ second season has introduced two more important sects from Seattle, the W.L.F. and the “Scars.” Who are these two very different organizations, and what do they both want? Here’s what we’ve learned about each side’s TV show counterpart so far on The Last of Us.

What Is the W.L.F. on The Last of Us?HBO

When Joel killed the Fireflies in Salt Lake City he seemingly destroyed the group. With none of their brethren left, Abby and her friends decided to head to Seattle. They knew about an “outfit” there run by a “guy named Isaac.” Season two’s stunning second episode gave that group an acronym: W.L.F. Based on the weapons, discipline, and tracking abilities Abby and her friends showed while hunting down Joel, W.L.F. clearly did a good job training the former Fireflies.

Episode three revealed that W.L.F. stands for Washington Liberation Front. It started as a “small regional group fighting FEDRA,” the type of organization we met in Kansas City previously. But the end of episode three revealed that W.L.F. has clearly grown in both size and strength from whatever intel Dina had. A large squadron of soldiers marched through the streets of Seattle with tanks. They also have patrols and watchmen all over the city, all signs of a well-run military operation.

HBO

While we haven’t met Isaac yet, he turned the W.L.F. into Seattle’s most powerful, ruling militia. However, his group doesn’t seem all that different from the one it replaced. And it also appears W.L.F. faces some of the same problems its predecessor, FEDRA, did. Despite the group’s literal firepower, they weren’t able to convince everyone in Seattle to join their cause. A very different kind of outfit also resides there.

Who Are the “Scars” on The Last of Us?HBO

Episode three also introduced Seattle’s other major organization from The Last of Us Part II video game. While the show did not yet name them, this religious sect is formally known as Seraphites. Colloquially, they are called “Scars” after the religious carvings they put on their face.

The Scars, whose symbol Ellie and Dina came across, follow the teachings and lessons of The Prophet, a woman who died ten years earlier. Unlike W.L.F. and its military garb, the Scars dress in simple, matching green robes. They also shun modern technology. The Last of Us‘ Scars arm themselves with primitive handmade tools like hammers, bows, and arrows rather than automatic guns. They also communicate with whistles rather than walkie-talkies. The Scars developed that code so they could protect themselves.

HBO

In episode three of The Last of Us season two, the atavistic Scars stood as more than just the ideological opposite of the militaristic W.L.F. The Scars we met were trying to distance themselves from war with the W.L.F. But they didn’t make it. “Wolves” showed up and slaughtered every Scar, even the children among them.

Why would W.L.F. do that on The Last of Us? What possible harm could people who speak of a Prophet and carry hammers to protect themselves, people quietly traveling through the woods to escape, possibly pose to a highly-organized group running tanks through Seattle’s streets?

HBO’s The Last of Us has a lot more to reveal about both.

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Support the Performers of LIFE AND TRUST, a Gorgeous Immersive Performance Abruptly Closed

At Nerdist, we’ve been heading to the theater more and more of late. And one of the shows that particularly caught our eye—and our fannish instincts—was an off-Broadway immersive theater performance called Life and Trust. The experience combined the best of LARPing, video games, theater, dance, and narrative in a retelling of the Faust myth, which was intertwined with The Portrait of Dorian Gray and set in the Gilded Age. We were even actively planning to write what would have been a five-star review for the performance, but sadly, that will now have to be a retrospective instead. On April 20, Easter Sunday, the doors to Life and Trust were shut without warning or explanation, with an email telling its fans, but most importantly its staff, that “the theatrical run of Life and Trust officially came to an end last night.” The closure left those employed by the performance suddenly without work. Sadly, this is a story also all too familiar when it comes to meaningful, queer, and creative work in our current landscape. But if this tale sounds like a tragedy to you, there are ways you can help author it a better ending.

In the creative and fannish world, the sounds of the recent Hollywood Writers, Actors, and other strikes still echo loudly. We saw during those times just how hard it is for even the most famous performers to get appropriate respect and recompense for their hard, necessary work. But many creating art don’t even have the luxury of a union to fight for them in times of need. And art is the soul of our society, staving away the bleakness and giving us a language to wrestle with ideas larger than ourselves.

Jane Kratochvil

But community is the soul of art. And, so, to offset callous closures and tough cancellations, there is the hope and coming together of those touched by something beyond the vision of financial success. In response to a massive outpouring of support from Life and Trust‘s fans, the show’s company has created an official GoFundMe, which you can donate to in order to aid the cast and others involved in the shuttered performance.

Life and Trust staffed a massive array of highly talented, non-union theatremakers. And the show had been slated to run through May. Despite giving their blood, sweat, tears, and most importantly, deep, deep love to the show, the GoFundMe reports that no assistance was offered to the staff after the sudden firing. And yet, rent still needs to be paid.

Jane Kratochvil

The Life and Trust GoFund Me shares, “On Sunday, April 20, 2025, the immersive production Life and Trust came to a sudden and heartbreaking close, with no warning, no severance, and no safety net for the people who built the world night after night. The fund was created by and for the entire Life and Trust company: performers, stage managers, crew, GAs, and everyone behind the curtain who poured their souls into making it real.” It additionally notes that the money goes to company members who lost their income, are experiencing financial hardship, and need short-term support to stay afloat while seeking new work. We encourage you to please share the GoFundMe on your social channels, even if you are unable to donate at this time.

We’d also like to take a moment to recognize the names of all cast members directly affected by the Life and Trust closure, as well as the full cast of the performance, whom you can find slightly below, and give them a virtual round of applause for all their incredible hard work and gorgeous performances. In addition, we’re sharing the public Instagram accounts of these performers below. Please make sure to follow them and support their future work!

Andrea Farley Shimota (Instagram)Andrea Murillo (Instagram)Andrew Kutryk (Instagram)Annie Grove (Instagram)Babou Sanneh (Instagram)Catheryn Clifford (Instagram)Christopher Ralph (Instagram)Collin Baja (Instagram)Derek Tabada (Instagram)Doug Burkhardt (Instagram)Erik Debono (Instagram)Eriko Jimbo (Instagram)Gabriella Sibeko (Instagram)Hannah Straney (Instagram)Jacob Nahor Jodi McFadden (Instagram)Jonathan Colafrancesco (Instagram)Kevin M Pajarillaga (Instagram)Kim Fischer (Instagram)Leigh-Ann Esty (Instagram)Lenin Fernandez (Instagram)Madison R. Olandt (Instagram)Madeline Wright (Instagram)Marc J CardarelliMarla Phelan (Instagram)Mia DiLena (Instagram)Miguel Miranda (Instagram)Mikaela Sinclair Brandon (Instagram)Mio Ishikawa (Instagram)Nathaniel Buchsbaum (Instagram)Ny Opong (Instagram)Patrick Ferreri (Instagram)Rachel Harris (Instagram)Spencer William Grossman (Instagram)Steven Bangerter (Instagram)Victoria DeRenzo (Instagram)Zach Martens (Instagram)Zach McNally (Instagram)

Many of those reading this probably never got to see Life and Trust. And that is a TRUE shame in a way I cannot quite articulate (although, check back for the retrospective.) But if you’ve ever loved a work of art of any kind, then imagine that love, and consider that a donation to this GoFundMe is a donation toward helping to ensure that feeling continues to exist and thrive in a cold world warmed by passion and creation. You can check out some incredible snippets from the performance above and below.

Life And Trust was written by Jon Ronson and directed by Teddy Bergman, with experience direction and scenic design from Gabriel Hainer Evansohn. Jeff Kuperman and Rick Kuperman co-directed and choreographed the production.

Stephanie Crousillat

Life and Trust was a unique production that saw changing roles for performers every night and featured many more “leading” cast members than a usual performance. In addition to those above, the cast has included, per Playbill, include Bria Bacon (Instagram), Tony Bordonaro (Instagram), Sophie Bortolussi, Nathaniel Buchsbaum (Instagram), Marc J Cardarelli, Aaron Dalla Villa (Instagram), Tiffany Violet De Alba (Instagram), Charles-Alexis Desgagnés (Instagram), Mia DiLena (Instagram), Brendan Duggan (Instagram), Zachary Eisenstat (Instagram), Raymond Ejiofor (Instagram), Kim Fischer (Instagram), Jennifer Florentino (Instagram), Reshma Gajjar (Instagram), Douglas J Gillespie (Instagram), Annie Grove (Instagram), Alonso Guzman, Dorchel Haqq (Instagram), Casey Bronwyn Howes (Instagram), Karl Kenzler (Instagram), Majella Bess Loughran (Instagram), Jodi McFadden (Instagram), Nando Morland (Instagram), Parker Murphy (Instagram), Kevin M Pajarillaga (Instagram), Marla Phelan (Instagram), Randolph Curtis Rand, Luca Renzi (Instagram), Gabriella Sibeko (Instagram), Tori Sparks (Instagram), Brandin Steffensen, Derek Tabada (Instagram), Tony Torn (Instagram), Mike Tyus (Instagram), Robert Vail (Instagram), Ryan VanCompernolle (Instagram), Jacob Michael Warren (Instagram), Maleek M Washington (Instagram), Madeline Wright (Instagram), Christopher Ralph (Instagram) and Evelyn Chen (Instagram).

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‘The Well’ Is a Stealth Sequel to One of DOCTOR WHO’s Best Episode

In the 15 episodes that comprise the Disney+ era of Doctor Who to date, we’ve seen a marked absence of the more familiar returning foes. No Daleks, no Cybermen, no Master. Not even a rogue Sontaran or Silurian. But fans have gotten some more obscure classic baddies like the Toymaker and Sutekh. Season two (or whatever the hell season we have to call it) episode three, “The Well,” added another surprise return, but from an episode much fresher in fans’ memories, a stealth sequel to perhaps Russell T Davies’ best Doctor Who story.

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As many fans apparently figured out well in advance (according to Radio Times) “The Well,” which Davies co-wrote with Sharma Angel Walfall, is a stealth sequel to “Midnight,” Davies’ Doctor Who masterpiece from 2008. That story—in which David Tennant’s Tenth Doctor and a small tour group find themselves stranded with a mysterious and terrifying alien entity—has long been a fan favorite. It’s not a fun episode, actually one of the darkest in a lot of ways, but it’s incredible. Number one for me in the RTD canon.

“The Well” finds the Doctor and Belinda suddenly on a planet with a group of soldiers investigating the disappearance of a mining operation. The facility seems deserted save for corpses, either shot or physically broken. Eventually they find Aliss Fenley (Rose Ayling-Ellis), the facility’s cook who seems the only survivor. Quickly, the soldiers and Belinda begin to see something hiding just behind Aliss.

BBC

The Doctor soon learns that the entity, whatever it is, kills anyone who stands directly behind Aliss. He also soon discovers the planet, now just designated 6767, is made of diamonds and once bore the name “Midnight.” Dun dun, and indeed, dun. Hundreds of thousands of years later, the creature is still alive.

Now, the entity certainly behaves differently in the two episodes. In “Midnight,” it got into one of the passengers and began slowly (and then very rapidly) learning language by stealing the voices of others. It repeated, then spoke at the same time, then took the words before the Doctor spoke them, making it seem as though he were the creature. One of the most nefarious and terrifying alien beings in the show’s history.

BBC

The M.O. for the entity in “The Well” is, I guess, just hang out on the back of people. It wants off the planet and it kills people who stand at “midnight” of the host, directly behind them. Definitely scary, but in a wholly different way. I’m willing to buy into some form of evolution or what have you. It bears a bit of resemblance in this fashion of the spiders from “Turn Left.” Those rest on Donna’s shoulder and people can just barely notice. Those were back-to-back episodes in series four, fun fact.

I don’t think Doctor Who‘s “The Well” holds a candle to “Midnight,” but it is a very scary and intriguing sci-fi horror piece in its own right. The quick shots we see of the thing’s shape are terrific nightmare material.

Kyle Anderson is the Senior Editor for Nerdist. He hosts the weekly pop culture deep-dive podcast Laser Focus. You can find his film and TV reviews here. Follow him on Letterboxd.

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Ryan Reynolds Teases Writing DEADPOOL in a New ‘Little Ensemble’ Project—Could It Be X-Force?

When Deadpool & Wolverine made over a billion dollars at the box office last year, some kind of continuation for Ryan Reynolds as the MCU’s Deadpool was all but guaranteed. The question remained though, just what form would it take? A second team-up? A third solo movie? Well, we now have a kernel of an idea. During an interview with TIME Magazine, Reynolds reiterated that he doesn’t believe Wade Wilson should ever join the Avengers or the X-Men. He doesn’t dismiss appearing in a supporting way in an Avengers movie, however. He then dropped this nugget of info about what’s next for the MCU’s Deadpool, saying “I’m writing something right now… It’s a little ensemble, but I like that he’s isolated.”

An ensemble MCU movie for Deadpool? Or is it even a movie? We suppose it could be some kind of short for Disney+, but we imagine Marvel Studios doesn’t want to waste such a popular character on anything but the big screen. While Reynolds gave no clue who might be in this potential ensemble, we can’t help but wonder if he is reviving the concept of X-Force again. Wade Wilson assembled an X-Force team of sorts back in Deadpool 2, but let’s just say that team was short-lived. Wade (and possibly Logan) leading a team of proactive mutant heroes practically writes itself. Laura/X-23 has a history with X-Force in the comics, so why not?

Marvel Studios

Reynolds could also be reuniting the heroes of the Void from Deadpool & Wolverine, like Gambit, Elektra, and Blade for the MCU. But would that have as much impact a second time? Although Marvel Comics does have a team of heroes composed of characters from alternate timelines called the Exiles. That’s a good concept for a movie, especially if you add some more surprise faces into the mix. Whatever form Deadpool’s MCU return takes, it sounds like it won’t be long before the foul-mouthed mercenary returns for another adventure. We just hope Dogpool is also along for the ride.

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THE FANTASTIC FOUR: FIRST STEPS One-Shot Will Be Marvel Comics’ First Official MCU Comic Book

Since the start of the MCU with Iron Man back in 2008, the universe we saw on the big screen was very different from the one in the pages of Marvel Comics that inspired it. And despite the massive success of the MCU, it’s remained like this, until now. According to Deadline, this summer, Marvel Comics will release a special The Fantastic Four: First Steps comic book, tied directly into the continuity of the MCU film. This is the first time Marvel has created a comic set in the MCU. Former Fantastic Four and Hawkeye writer Matt Fraction is writing this one-shot, with art by Mark Buckingham, who also illustrated several Fantastic Four comics. Frequent Star Wars artist Phil Noto illustrates the cover.

Marvel Comics

The concept behind this special one-shot MCU x Marvel Comics comic book is that it’s an artifact from the world of the film. Just as in the classic Marvel Comics, the team’s adventures also exist as licensed comic books in-universe. This new comic confirms that the upcoming MCU movie picks up four years after the FF become superheroes. Marvel Comics worked closely with the filmmakers on this special MCU issue, drawing inspiration from the look of the film by production designer Kasra Farahani. Matt Fraction and others working on this one-shot comic even visited the set. Phil Noto’s cover is a direct homage to Jack Kirby’s cover for The Fantastic Four #1, from way back in 1961.

Marvel Comics

Here’s what Marvel Comics’ C.B. Cebulski said about the upcoming The Fantastic Four: First Steps one-shot:

As Marvel’s First Family, the Fantastic Four and their stories have always been at the very center of the Marvel Universe. With The Fantastic Four: First Steps coming later this summer, we at Marvel all felt this was the perfect opportunity to bring our teams together in honor of their legacy in both the world of the film and within our comics. It’s been a blast to have our teams in Publishing and Studios bounce ideas back and forth to create something truly special and one-of-a-kind, and we can’t wait for fans to be able to dive in to this comic—squarely in the world of the MCU—and experience the Fantastic Four like we’ve never seen before this summer

Will this special one-shot issue lead to more Marvel Comics set in the MCU? Certainly, the upcoming year between Avengers: Doomsday and Secret Wars calls for several comics to fill in the gap, especially with so many characters involved. Who knows, this could lead to a whole line of MCU comics from Marvel Comics. In the meantime, The Fantastic Four: First Steps comic arrives in comic shops on July 2.

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New HUNGER GAMES Movie Casts Young Haymitch, Jesse Plemons Joins as Plutarch Heavensbee

Not too long ago, on the very heels of a new Hunger Games book announcement, we also received new of a new Hunger Games movie, and this time it’s all about Haymitch Abernathy. Suzanne Collins announced that she was releasing a new Hunger Games book, Sunrise on the Reaping, that would focus on the Second Quarter Quell, the Hunger Games that were won by a young Haymitch Abernathy. And, unsurprisingly, Lionsgate followed up that announcement by announcing Sunrise on the Reaping will become our newest Hunger Games movie. Now Sunrise on the Reaping, the book, is out in the world, and we have new information about the movie, too, a new logo and a writer.

Check it all out below.

LionsgateA New Hunger Games Movie Is on the Way

Lionsgate shared, “Lionsgate will return to the world of Panem with the major motion picture adaptation of the next book in the franchise, Suzanne Collins’s highly anticipated Hunger Games novel Sunrise on the Reaping, it was announced today by Adam Fogelson, chair of the Lionsgate Motion Picture Group.”

Lionsgate

Additionally, Nina Jacobson, alongside her producing partner Brad Simpson, will return to produce The Hunger Games: Sunrise on the Reaping. A release notes that “Francis Lawrence is in talks to direct the film; Lawrence has helmed four previous films in the Hunger Games franchise – every film since Catching Fire.”

Most recently, screenwriter Billy Ray was named the writer for Sunrise on the Reaping. Ray co-wrote the original The Hunger Games movie and get ready for it that iconic Nicole Kidman AMC ad. Amazing.

Sunrise on the Reaping CastDisney/Lionsgate

The first two major cast members have closed deals to star in Sunrise on the Reaping. Deadline reports relative newcomer Joseph Zada will portray Haymitch in the movie. Opposite him, as Haymitch’s girlfriend, Lenore Dove Baird, will be Hocus Pocus 2‘s Whitney Peak.

Other reports indicate that Elle Fanning is in talks to play a younger Effie Trinket. This well-known The Hunger Games character was first played by Elizabeth Banks in the first four movies. Additionally, McKenna Grace will play Maysilee Donner, another one of the tributes from District 12.

In exciting news, Sunrise on the Reaping has cast Jesse Plemons as Plutarch Heavensbee. Plutarch Heavensbee is a future Head Gamemaker in The Hunger Games and rebellion leader. The role of Plutarch Heavensbee was previously played by the late Philip Seymour Hoffman, and honestly this casting is astoundingly good.

The Hunger Games: Sunrise on the Reaping‘s Synopsis and Haymitch Focus

A plot synopsis for the new Hunger Games movie shares of the Sunrise on the Reaping film:

The Hunger Games: Sunrise on the Reaping will revisit the world of Panem twenty-four years before the events of The Hunger Games, starting on the morning of the reaping of the Fiftieth Hunger Games, also known as the Second Quarter Quell.

Of course, as mentioned, this setting means we’ll get the backstory of Haymitch Abernathy in the new Hunger Games movie.

When Will the New Hunger Games Movie Sunrise on the Reaping Release?Lionsgate

The new Hunger Games movie even has a release date. The Hunger Games: Sunrise on the Reaping will release in theaters in North America beginning on November 20, 2026.

Originally published in 2024.

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Check Out the Leader’s Original Makeup for CAPTAIN AMERICA: BRAVE NEW WORLD

After a 17-year-long wait, Marvel Studios finally paid off a tease from The Incredible Hulk, reintroducing actor Tim Blake Nelson as the villainous Samuel Sterns, a.k.a. the Leader, in Captain America: Brave New World. He was the mastermind baddie of the film, responsible for all of Sam Wilson’s woes. But he almost looked very different than what moviegoers saw. Early makeup tests from Blue Whale Makeup had the Leader looking far more similar to his original Marvel Comics look. Ultimately, during reshoots, they changed Stern’s look for the film. Now, Blue Whale Makeup has posted several images of their version of the original Captain America: Brave New World Leader on Instagram. They’ve also posted a video showing them applying a makeup test on Tim Blake Nelson. You can check it out right here:

Marvel Comics

In this version of the makeup, Captain America: Brave New World‘s Leader looks more like the original Jack Kirby version, who has an elongated cranium. This is pretty much how the character appeared in the pages of The Incredible Hulk for decades. As the ’90s rolled around, newer artists began to draw Sterns’ giant brain seemingly protruding from his head. And it looked far more grotesque. In more recent years, artists at Marvel Comics have leaned a little more heavily into that version. But neither the unused makeup nor the one that made it on screen is less accurate than the other. They simply reflect two different eras of comics.

Blue Whale Makeup/Marvel Studios

Chances are, whether you liked Captain America: Brave New World or not, your opinion didn’t rely on Tim Blake Nelson’s makeup or look as the Leader. But the fact that at one point his character looked so radically different goes to show the MCU didn’t have a clear vision for his character, beyond the basics. Who knows, even if Leader returns to the MCU one day, he may look completely different again, with no explanation. Marvel did that once already, with Tim Roth’s Abomination, who first appeared in The Incredible Hulk, and later had a different look in Shang-Chi and She-Hulk. If they redesigned one character from that MCU film, why not two?

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Eric Bogosian Confirms ‘Armand Told the Truth’ Tattoo Is NOT on Daniel’s Arm in the INTERVIEW WITH THE VAMPIRE Season 3 Teaser Trailer

Well, Interview with the Vampire fandom, it was a fun time measuring wrists and squinting at images, but alas, it seems that the forearm bearing a tattoo of the words “Armand told the truth” in the Interview with the Vampire season three teaser trailer from San Diego Comic Con does not belong to Daniel Molloy. At least not as far as Eric Bogosian is aware. In an interview with Nerdist that touched on Interview with the Vampire, Bogosian confirmed, “No, it’s not Daniel’s.” And added, “It’s a person holding a clapboard.” Of course, Daniel could have been the person holding the clapboard with the tattoo, but Bogosian is fairly adamant that Daniel Molloy’s arm was not involved in this interesting Interview with the Vampire season three teaser Easter egg.

While the internet theory seemed only “possible” and not “very likely,” I admit I had grown fond of it. Since vampires don’t change their appearance from the moment they’re turned, if Armand had doodled “Armand told the truth,” on Daniel before biting into his neck, he might have been able to preserve the words on Daniel’s skin for eternity. It does seem like the kind of thing Armand might do in a fit of maximum gremlin. And if it had been Daniel’s arm bearing the “Armand told the truth” tattoo in the Interview with the Vampire season three teaser trailer, it would not have felt shocking.

AMC

But, for now, Daniel has been spared… from this mark, at least. And instead, the other prevailing theory about the “Armand told the truth” tattoo—that Armand has some serious truthers out there—seems likely to be the true vision. Still, Interview with the Vampire is full of Easter eggs and hidden secrets to unfurl, so all that theorizing is well placed.

Bogosian shares of filming the Interview with the Vampire season three teaser trailer, which features Daniel Molloy’s voice, “When we were shooting the teaser, we didn’t even know that [the ‘Armand told the truth’ tattoo] was there. I only found about it later when somebody pointed it out on the internet. I didn’t even see it on the day, and I asked other people who were also there. Then I asked, ‘Did you see that, when it said Armand was right?’ And no one saw it. I don’t know if it was Mark Johnson, our producer, or somebody else’s arm. But we have this master puppeteer over us. It’s Rolin Jones who’s putting all these things together.”

And what Jones has planned for Interview with the Vampire season three, no one knows yet. However, the season will come our way in 2026, and we couldn’t be more excited. In the meantime, we can content ourselves with streaming the first two amazing seasons of the series on AMC+ and other streaming platforms.

P.S. Armand told the truth…

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Eric Bogosian Dives Into Daniel Molloy, Elder Queer Representation, and All Things INTERVIEW WITH THE VAMPIRE

“We start shooting again in the summer,” Eric Bogosian, who plays Daniel Molloy in Interview with the Vampire, volunteers as our afternoon conversation shifts to the series, which will soon begin work on its third season. “And then there’s the Talamasca show that’s going to come on before that. I don’t know when they’re releasing it. What’s weird about Interview with the Vampire or this whole Anne Rice universe is that you’ve got different auteurs working, creating their own ideas about what should be happening with this thing, and then they have one producer over the whole thing, Mark Johnson. But Rolin Jones, I mean, that has been some crazy shit working with Rolin. I, as a writer, as an off-Broadway kind of guy, which is where he started at The Atlantic with his plays, how he’s doing this, I don’t know. I mean, it’s a level of intensity. It is hard for me to even… Rolin is ready to go completely all kinds of places, and I don’t even know what’s happening to Daniel because I barely got a hint of it so far.” He grins with a hint of slyness, knowing we all want to know what that “barely there hint” entails and concludes, “I guess I’ll find out.”

Bogosian then points out that he has a whole stack of The Vampire Chronicles books sitting prominently, in center stage on the desk in his office, right next to us. I’d clocked them immediately when we sat down, and they seem to have a gravitational pull all their own. “I’ve read every one of the books.” Bogosian shares of diving into the literary world of Interview with the Vampire, “It’s hard for me to keep it all in my head because I’m aware of the depth and breadth of Anne Rice’s, just the vampire world, forget the other worlds I’ve tried, but it’s just too much for me to go everywhere. She’s so interesting because her sexual dynamics and her imagination dynamics are pretty deep. She is also writing about something that has been a big part of my sort of daily meditation for years now, which is death.”

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Anne Rice’s universe has been a ripe playground full of many themes, and Bogosian feels the Interview with the Vampire series has done a wonderful job of keeping Rice’s vision and adapting it where necessary for our TV screens. He expounds. “She took this vampire thing and she made it, particularly in the beginning, it’s basically a meditation on death, or I shouldn’t say it’s basically a meditation on death, but there’s a lot of, it is a meditation on death, partially, as you know from her story, because her child died just before she started writing these books in the mid-seventies. And I think it’s very satisfying to be in that realm. I also think that Rolin has been, and Hannah [Moscovitch] have been, really respecting the Anne Rice imagination. It can’t all come into the show because, sometimes, she’s one of these great pop writers like Stephen King. She’s not always consistent in every single thing she thinks of.”

Bogosian rattles off a few critical examples from Interview with the Vampire that I know fandom has been talking about. “Do vampires get erections or don’t they? Well, it depends on which things you’ve read. Can they get drunk? Do they get drunk if they suck blood of somebody who has drunk a lot… I don’t know. So we have to live in our world, and we have to be consistent in our world.” And although your mileage may vary, we’re not too sad to see the way some of these questions have been answered in Interview with the Vampire. You know which one.

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Probably, many Interview with the Vampire fans already know this, but it was Bogosian’s dream to play a vampire, and he was musing about it right when he got cast. He reminisces, “I was headed out to Chicago to visit my wife, who was directing a play in Chicago, which as it turned out, was by one of the writers of the show. But, I didn’t know that at the time. And on the plane, I was just sitting and thinking, ‘Shit, you’ve done a lot of stuff. What’s left?’ I said, ‘Well, the one thing I’ve always wanted is to be a vampire.’ And the next day, I got the call, which is so crazy. I mean, Frank Langella doing Dracula on Broadway was one of my favorite, favorite experiences. And later to become friendly with Frank, who’s truly from another universe, that was a really special experience.”

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And ultimately, it’s not just vampires making the series exciting, but the fact that it’s really doing something as it brings all its different components to the table. Bogosian reveals what he loves to see Interview with the Vampire exploring, “There’s the power, there’s the sexual aspects, there’s immortality. All these things make it very, very, at least from me, the sensuousness of it, make it exciting. And Rolin has been very courageous, if you go to LA and you pitch and you say, ‘It’s going to be People of Color, it’s going to be gay.’ You could get gunned down, so you’ve got to give AMC credit. But they’re like, ‘We’re lucky to have you, go for it.’ And that all becomes very exciting to be part of that, especially when it works. And I think it works. I know that aspects of the show are violent, that maybe some people don’t like to watch that, but that’s just taste, I think.”

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I completely agree, and bring up another aspect of representation that I’ve been thinking a lot about. And that’s the idea of seeing a romantic queer relationship between Armand and Present Day Daniel Molloy. We all love younger Daniel, of course, but there would be something that feels seminal if Eric Bogosian’s version of Daniel and Armand got together on-screen in Interview with the Vampire. Elder queer representation isn’t something that we see too much on our TV screens, because, of course, societal interjection. But it’s also not something we don’t see too much of in our lives because sadly the queer community lost so many queer men from a certain generation. A generation that Eric Bogosian is a part of.

I present the thought to him, and he’s interested in the concept of it, and to me, it feels like agrees with the sentiment, although he hadn’t thought about it before. But notes that, “Rolin is not asking me for my input. It’s such a complicated 3D-chess game that I think, I mean, if I’m really feeling strongly about something, I’ll throw it into the ring, but he’s in his own world. It’s like me talking to, I don’t know, the Great Oz or something.”

Still, Bogosian processes the thought and adds that given that his and Daniel Molloy’s lives have this weird resonance, it’s absolutely something to consider. He dives into how the series mirrors his own life, in a fashion, and muses on his own experiences with the HIV/AIDS epidemic. “But you’re absolutely right. I was transfixed by episode five, what Luke [Brandon Field] did as the young Daniel, and what was going on in that. And strangely, it paralleled my own life, which is also weird. I mean, Daniel is not an old guy in the books, and yet here we have this guy who’s kind of grumpy and old, and he’s been celebrated, but now nothing is really going on for him other than a masterclass. And that was sort of where I was at as we begin to work on the show. But if you go all the way back to the mid-seventies, I’m there too. That’s what’s weird about it, is that there wasn’t a door I didn’t walk through. There was nothing that scared me. I was fascinated by whatever was going on. My gay experiences were very limited, but it wasn’t like I wouldn’t do something.”

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He pauses, and adds, in a deep consideration which reveals how, indeed, present he was in certain communities at a certain time, “Although there was one time I didn’t do something, which was, I didn’t go to the baths. We were on the verge of the AIDS thing, and it was beginning to percolate. We knew people who were very sick. But we didn’t know what it was yet. And it just seemed to me like the baths were, I mean, not the place to go. Not that I would go to the baths and lie down and have everybody fuck me up the ass. That wasn’t what I was thinking; I just wanted to see what was happening in there. And I didn’t do it. I chickened out at the last minute, but a lot of other places I went to.”

Returning to Interview with the Vampire, Bogosian continues, “So, Luke, studied me to play this part, which was crazy, without me knowing it. And those scenes start to bring up all these questions. And there’s also this thing when they go fishing in my mind, and I propose to my wife in Paris, and I get turned down. What about those? There are so many scenes. Then there’s the present-day relationship with Armand. There’s also this amazing moment, it kind of goes by pretty quickly, of Armand’s backstory, which is so deep. And so if you’ve read the books, there’s a lot to think about with what that represents, and then what you just brought up, which frankly I haven’t even thought of, the AIDS crisis in the story. But what would that do? What would that be?” The thought really seems to strike a chord with Bogosian.

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We veer out of Interview with the Vampire and Daniel Molloy for a moment, deep into Bogosian’s lived experiences, but I think the weight of them help underscore exactly why seeing a relationship between Armand and Bogosian’s Daniel would be so impactful if it were to exist in the show, whether or not a conversation is had about its real-world weight, but just purely in its existence.

Bogosian notes, “When the pandemic happened and people were tearing their hair out of their heads, I was like, why is no one mentioning that this just happened 30 years ago? It already happened. Down in this neighborhood… I made a list. I’ve been working on this memoir, which will never be finished and won’t be published, but at some point, I made a list of everybody who was gone. And it was stunning. And one of the things I came to understand is that an artist isn’t just making art; an artist is also making their legacy. Some of these artists who were so brilliant at that time, they never got to the place where the flashpoint happens. Okay, so Keith Haring, it did happen for, but for every Keith Haring, there were five other guys who were very brilliant, and we didn’t get there. And not only do they not get their legacy, which I think is important to artists, but they also don’t become teachers to the next generation. And so it’s a continuity thing that didn’t happen, and the tragedy of it all was just stunning. To not have it brought up during the pandemic was like, what the fuck? I got very… I wasn’t militant, but I was part of a lot of actions and things that had to do with raising money and so forth. And eventually I would get up on stage if we were doing the benefits of it, and I would just start cursing out the president, and they stopped inviting me to those kind of more genteel fundraising things. I wasn’t a member of ACT UP, though they’d have been perfectly happy to have me start hitting people with a two-by-four. But I was involved. And like I say in my memoir, I mean, that loss, it’s a big part.” For me, the idea of the lost legacy Bogosian muses on, twined with the idea of somehow preserving parts of it and offering them forward, is exactly why the right kind of representation would really hit home here.

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The conversation lapses into a larger discussion of art for a bit, which you can read in my larger interview piece, but returns to Interview with the Vampire‘s Daniel Molloy in time. Bogosian shares a bit about the final scenes of Interview with the Vampire season two and what his final conversation with Louis meant to Daniel. For Bogosian, it was all about the relationship between the pair of vampires. He notes, “For me, it was all about Louis. I mean, Jacob [Anderson] and I had developed such a deep bond while we were doing the show that, and it was from the get-go, it was the strangest thing and very beautiful. I love him deeply. And of course, Assad [Zaman] is this incredible human being who is nothing like Armand. So we became very close. But I think that in those final scenes, I’m trying to really connect with Louis. That’s my main thing. What have you heard about anything? What’s Lestat doing? And what’s Armand doing? What’s anybody doing at this moment?” The implied addition being, “How are you doing?”

But it wasn’t a particularly easy Interview with the Vampire sequence for Bogosian, he adds, “Of course, that was a very weird scene because a lot of things had happened that I didn’t know particulars of, and all of a sudden I have a scene that I’m being thrown into, and I have two concerns. One, I have to go and hunt this guy down, which is happening already as I’m talking to Louis on the phone. You can’t really see it, but I’m watching my victim. And also, it was a very stressful evening because it was the second time that I had the lenses in, and I had the teeth in for the first time, and it was raining. It was just like, ‘I can’t see, the teeth keep breaking.’ I was in a bad mood, but I was trying. And we were trying to do something like that looks so simple: I’m walking, I’m talking, and then I stop, and I’m watching the guy. But the walking, talking, and getting to that spot was actually very complicated, and there were a lot of people in the background as well.”

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The teeth and the nails, I have to say, sound intense. But there’s about to be a lot more of them in Interview with the Vampire season three. The cost of being a vampire. Speaking of season three, I ask Bogosian about a popular internet theory that’s popped up since the Interview with the Vampire season three teaser trailer released at San Diego Comic Con. In it, we see a forearm that seems to have a tattoo on it that claims “Armand told the Truth.” It’s been a popular rumor that it’s actually Daniel Molloy’s forearm and tattoo in that Interview with the Vampire season three teaser trailer. But, at least according to Bogosian, it’s not. He confirms, “No, it’s not Daniel’s.” And adds, “It’s a person holding a clapboard.” Well, internet, there you go.

Bogosian adds, “When we were shooting it, we didn’t even know that [the tattoo] was there. I only found about it later when somebody pointed it out on the internet. I didn’t even see it on the day, and I asked other people who were also there about it. I asked, ‘Did you see that, when it said Armand was right?’ And no one saw it. I don’t know if it was Mark Johnson, our producer, or somebody else’s arm. But we have this master puppeteer over us. It’s Rolin Jones who’s putting all these things together.”

Though the Interview with the Vampire trailer didn’t have a secret tease, Eric Bogosian does love the idea of Easter eggs and theories running amok in Interview with the Vampire. He notes, “There are all kinds of mysterious, interconnected things with all of this. Some of which, I’m waiting to pan out. I mean, I think it was in the third episode or the second episode of the very first season where there are these noises in the building, and I asked, ‘What is that?’ Someone actually pulled that the other day, and I’m looking at the painting by Marius, and I hear the sound. I go, ‘What is that sound?’ and I don’t know what’s going to happen with that sound. But I think Rolin has always had a master plan for everything in this show. I think some other shows will throw out all these Easter eggs in the beginning and then not even remember that they had ’em, or they’ll make it seem like they were, but they weren’t. And it’s all very interesting. It’s all part of TV, it’s a sort of puzzle or something that you’re trying to figure out. I know that the depth of the tapestry is very appealing to another generation.”

As we conclude our conversation, I tell Bogosian that if Armand and his Daniel get together in Interview with the Vampire season three, it’ll be my first real ship to ever kiss on-screen, so he has to tell Rolin Jones they have to do it for me. He laughs and comes out with the goods. “Well, I know we’ve certainly been… We would be shooting those scenes at the end, and Assad would just be like, ‘Wait till I get my hands on you.’ But I don’t know if he’s going to his hands on me or I’m getting my hands on him. I mean, this whole thing of the older Daniel, I’ve been sort of meditating on it more and more as we’re approaching shooting, and I’m like, ‘Here’s a guy who’s been sick for years. Maybe he just goes out and stands in front of a freight train to see what would happen, and you can’t get killed. Or what is the sexual thing going on with this guy? Or, anything, really. I mean, this all brings in these questions of immortality as well. If you knew everything that was going to happen forever, what would you do? And that is a big part of it, especially if the show brings in these older vampires who’ve been around forever. This is something that Rice is talking about a lot in the books. She says it very early on that over the generations, if suddenly, it’s like 200 years later and you’re with a lot of people who don’t look or feel like anything like the people you hung out with 200 years ago, maybe you go crazy and you throw yourself in the fire. And that’s a Lesat thing.”

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Bogosian breaks off and chuckles to himself about Interview with the Vampire season three, “This is going to be such a wild year. I mean, Sam [Reid] is so insanely talented that I don’t even know where he’s going to go with this rock and roll thing. He’s already starting.” He grins at me with another sly smile. “But yeah, I will tell Rolin. And he doesn’t listen to me anyway, but I will tell him. And we’ll be finding out soon enough.”

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We sure will. Interview with the Vampire is now available to stream on AMC+, and season three will be come our way in 2026.

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An Afternoon with Eric Bogosian: On HUMPTY DUMPTY, IWTV, Art, and More

It’s a chilly spring day in New York City, but inside Eric Bogosian’s office, the sun is streaming in warm through the windows, and the scent of incense and coffee mixes with the sound of classical music that drifts through the air. There’s a pleasant, eclectic clutter to the space that’s filled with books, notes to self, plants, photos, and other marginalia from Bogosian’s work throughout the years. We start with some light teasing about the way I take my coffee (two sugar lumps and cream) and what I read as a sincere exchange of pronouns, layered under some snark for good measure. Bogosian immediately says afterward that he’s really “a typical boomer,” but I tell him I don’t think so because even before it was “cool” or people feared cancellation, Bogosian refused to make fun of queer people and other marginalized groups in his work. That’s no guarantee for some. “Yeah, it’s too easy. All that stuff.” Bogosian says with a laugh, after emphasizing that it’s true, he wouldn’t do that. “I mean, it’s kind of interesting because if you go in front of an audience and you’ll discover that if you say, ‘Fuck,’ people laugh. So now you have a choice.” And the choice he’s been making since 1976, I feel is admirable.

The coffee mug that I’m drinking out of, it turns out, was made by Bogosian’s high school girlfriend. He grins and shares, “Everything has history here. Every single thing. You could get me started on every single thing in this room, there will be a story that goes with it, but then we would be here for the rest of our lives. Maybe that would be a good piece.” I agree that “A Lifetime with Eric Bogosian” certainly has a ring to it, but the talk of history gets us on the topic of how he started out in the NYC theater scene.

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“For me, it all started with this. I was a theater person who came to New York and decided, as an intern, there was no way I was going to cut it in the theater. And then I decided to live here anyway. I got a job at the World Trade Center, which I found in the newspaper, trading Japanese Steel.” Bogosian shares, “I don’t even know what that meant. I still don’t know what it means because on the day that I was supposed to go to that job… The next day, I had just come to New York with all my stuff into an apartment, one of the roommates-to-be at this apartment held up the other roommates at knife point, and the apartment became a crime scene. So I had to call my dad back in Boston and say, ‘I’m not going to be where you thought I was going to be.’ He said, ‘Somebody’s trying to reach you.’ This guy, Bob, at The Kitchen. And I called him up and he said, ‘You left your resume here three months ago.’ I had just graduated from college. He said, ‘Do you want come here and be my assistant?’ I said, ‘Well, you’re going to have to pay me. So he said, how about a hundred bucks a week?’ So I said, ‘Okay.’ So, I never showed up at that other job.’

And the rest is the history that brings us to this office full of things with history in them. Bogosian shares that he began as the guy who answers the phone, and had no idea what The Kitchen really did. But as he notes, “Things happened,” and he just “fell in love with everything they were doing there.”

“I fell in love with the people.” Bogosian adds, “It became like the crossroads of Soho in 1976. And everybody was coming through there, choreographers, composers, everything. And nine months later, everybody who ran the place, without telling each other, had decided to go do something else. So, me and the couple of people who were working there as assistants, we were suddenly running the place.” Bogosian reminisces a bit about performing in a second-floor space that’s actually just around the corner from his office, the sentiment feels like it has a full-circle energy to it. He goes on to say, “So suddenly I was in the thick of it, and then everybody else is making shit. I might as well make shit too.” As a trained theater actor, Bogosian was first approaching his work from the perspective of the theater, but in ’70s Soho, “nobody knew what any of that meant.” Still, Bogosian persisted in “making shit.” He explained, “I started making these weird little pieces, and they got more and more ambitious.”

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For example, he shows me an image from a play he wrote where he “cast an entire Latino cast of like eight people or something. And I had them translate the play to Spanish. I don’t speak Spanish. So the play was all in Spanish for an Anglo audience who couldn’t understand what they were actually saying.” Another wild outing for Bogosian included “The Rick Paul Show,” where the idea was to “completely insult the audience and get people to throw bottles.” A bold proposition.

Some of the other “weird little pieces” are the solos for which Bogosian became incredibly famous. He notes that he was emulating what his friends were doing in the visual arts, creating a gallery of characters that were not stereotypes, but also not specific things. Instead, they were archetypes. He shares that he had a whole crew of people that he’d sit around with and ponder these creations, painting a picture of late nights in diners and the like. It honestly sounds like an amazing and creative era that can never be replicated. It sounds a bit like a movie.

The Chain Theater

We move to the couch and shift focus to Bogosian’s currently performing play, Humpty Dumpty, which touched me deeply. The play was written around 2001 and is set in the year 2000, but remains truly salient today. Bogosian muses on some of the ideas in it that transcend time and help keep it relevant. He shares that the question of prestige, where it comes from, and what it means, really drove him. “If you say 2000, that’s the end of the ’90s. And look at who I’m hanging around with, who my friends are. My friends are like Cindy Sherman and Sonic Youth and whoever is hanging out, plus all the new movie people I’m around, and everybody has all this cred because of… of something that was written. But put them in the woods naked. And it’s like, what can you do? And for me, that has always been a question, and it was enhanced 9/11.”

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His proximity to the attack on the World Trade Center had a profound impact on Bogosian, and the sensation of it lingered with him for a long time, influencing his creation of Humpty Dumpty. “I was living here and we saw it, everything, and it was horrific. And when she [Nicole, a character from Humpty Dumpty] says, ‘I have this feeling in my stomach and I feel a little faint, what is that? Is that fear?’ That was a feeling that I had had for the whole six months after the attack.” Beyond this core vulnerability, Bogosian adds, “I’m just trying to grab lots of different things. For me, it is a struggle to say, on the one hand, I want to be kind of punk rock expressionistic, and on the other hand, I want to make the well-made play. But what I absolutely don’t want to do is make anything pretentious. So I’m trying to make entertainment that does things that I need. First of all, I can’t be bored. If I sit in the theater and I’m ahead of the thing, it really bothers me. I want it to be really good for the actors, and I don’t want anybody with a part that isn’t really great for them. And I want to hit a big theme that I don’t necessarily have an answer to. It’s in my head all the time, and I’m wrestling with it.”

The Chain Theater

It’s that faint/fear/uncontrollable sensation that really struck me, alongside the brutal isolation the play depicts, which brought Humpty Dumpty into our current world of pandemics and quarantines. And for Bogosian, that means the play was a success. He shares that he tells the cast to simply think of the one person they might be touching on any given performance night and hold onto that idea. “I think if you look for things that come from your heart, then it’s going to speak to somebody,” He notes. “So yeah, maybe you drop a line or something in the second act, so fuck it. Just keep going. They don’t know. Nobody knows. This is the amazing thing of live theater.”

Sharing Humpty Dumpty in New York City has also been a great experience for Bogosian, “I am writing for my tribe.” He explains, “An overused term, but it is. A tribe is the people who share experiences, as they say in the play, ‘We do these things.’ Nicole says, ‘We all watch the Oscars.’ And then she says, ‘ironically.’ We share a whole bunch of things right now that are shifting all the time. At any rate, I want to make a play for my tribe. When I write for my crowd, I know that they’re comparing it with their own personal experiences. And when they do that, that puts me more in a hot seat. I think it’s harder to write that way. And the people I love write that way.” Bogosian muses that a lot of his work has been phenomenal and emotional, but he also wants to write plays that fall into the “people talking to each other” category, though in a way that still captures immediacy, event, and emotion. I feel he manages to thread all these ideas together in Humpty Dumpty.

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Eric Bogosian’s HUMPTY DUMPTY Is a Prescient Play That Offers Catharsis to Its Audience (Review)

Ultimately, what Bogosian wants is for his audience to think when they leave his plays. And while Humpty Dumpty has some conflicting ideas about the good or ill of needing or craving your work to be perceived, for a play, it’s obviously an important component. “My agenda is to create some meditation while you’re sitting there and maybe even past after the show is done.” He says, “I absolutely want it to be perceived. I want to be interlocked with my community in these things now. My thing is not, ‘I got to tell you something.’ I’d rather be, ‘Let’s hear some questions, and let’s sit around together, and maybe you’ll have an argument with it afterwards.’ That’s my goal. So I try to stir up stuff, but I absolutely want to enter into a kind of a dialogue. I think we are fighting against some things now, which is, there’s been a lot of shrinkage in the theater, especially the off-Broadway theater and the ticket prices are so fucking expensive that you can’t go see your friend’s thing.”

But for Bogosian, it’s a critical fight. He adds, “When we, especially in theater with an audience, when we gather and we see something there develops a kind of consensus in the audience about what we think about this thing that we’re sitting in. And that becomes how we as a society, and not to get too heavy about all of this, but that is how we develop a bias in a particular direction. For example, my wife, Jo Bonney, did a play at the A.R.T. called Trans Scripts about trans people, and it was a beautiful piece. Basically, my mind was opened in a way that it hadn’t been before. I had thought about the ideas in it beforehand, maybe in a kind of abstract way, but I didn’t really understand things. But here are seven people telling their stories and they were trans, and then I had a new place that my head could go to, and that’s all we ask for. It’s not like you’re going to go to the theater and thinking ‘What do you want people to think after they see it?’ I mean, I don’t know.”

I suggest he just wants them to think, and he laughs. “Yeah, that would be good. It’s a habit of mine. It’s important to play.”

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Bogosian asks me about things I’m a fan of, and the conversation shifts to Interview with the Vampire. We both lean in. However, since it’s such an extensive part of the conversation, I’ll direct you to a second piece to read all about it. If you’re also a fan, it’s worth it. Spoilers, the words “Does he get his hands on me, or do I get my hands on him,” come up around Daniel and Armand.

We’re getting into the final stretches of our talk when Bogosian invites me to see a piece of artwork gifted to him by the late Val Kilmer. “This isn’t stable,” Bogosian shares, “It’s fading away.” The artwork, it turns out, is made of Kilmer’s own blood.

Bogosian speaks about some of the great actors he’s known as we look at the painting, including Val Kilmer and Vincent D’Onofrio. They could be difficult, he shares, “But in both cases, all I knew was I fucking loved what they did when they did great shit. And to have greatness in you, that is, it’s often not even conscious in themselves. They’re just going for whatever they have… The acting world is filled with a lot of two-dimensional stuff that we kind of accept as dimensional because we see it so often. The actors don’t know that they’re doing this. I mean, they’re there, they’re doing their thing, but it’s just not that interesting. And if you get to do what I do, and you get to be opposite somebody like a Damian Lewis or a Paul Giamatti, and you’re looking into each other’s eyes, and you’re in a scene, and you are in the scene, that is an incredible feeling. It’s just amazing. You get to fly. And I love that.”

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We bring it back to Humpty Dumpty to close off. “One of the things I really love about the Humpty Dumpty gang and what they’re doing is that, first of all, nobody knows these guys. They come to the theater. They have no preconceptions. I mean, if you go to see George Clooney on Broadway, he’s going to be George Clooney, you expect it to be George Clooney. You already know about George Clooney. You don’t know anything about these guys, and every character changes over the course of the play. But they are also in a highly dynamic point in their acting career. And I think the material is rich enough that they can keep exploring for the entire run. And that’s exciting because you’re not looking at something that’s set. It is changing, and it’s learning, and they have to be into that. Like I said, you’ve got that one person in the audience tonight. Don’t worry about like, ‘I got this thing set in concrete and oh shit, I dropped a line tonight, so therefore it’s no good.’ That’s not what it should be at all in a live performance. It needs to have all this unexpected stuff. And every audience brings in their own set of reactions.”

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It’s a beautiful ethos and a beautiful conversation.

Humpty Dumpty is now playing at The Chain Theater in NYC. Tickets are available here. If you’re not local, you can buy the screenplay to peruse at your leisure.

The post An Afternoon with Eric Bogosian: On HUMPTY DUMPTY, IWTV, Art, and More appeared first on Nerdist.