The Beast In Me is a new Netflix series that delves into the dangerous connection between two deeply flawed characters navigating their inner demons while trying to find solace in each other. At the helm of this project are showrunner Howard Gordon (24, The X-Files, Homeland, and Accused), and Daniel Pearle, who worked with Gordon on Accused.
The series is centered on acclaimed author Aggie Wiggs (Claire Danes) who has receded from public life, unable to write since the death of her son. She finds an unlikely subject for a new book when the house next door is bought by Nile Jarvis (Matthew Rhys), a real estate mogul who was once the prime suspect in his wife’s disappearance. Both horrified and fascinated by this man, Aggie finds herself compulsively hunting for the truth – chasing his demons while fleeing her own. The seduction begins.
In this interview with Creative Screenwriting Magazine, Gordon and Pearle delve into their creative process, the challenges they faced, and their collaboration with creator Gabe Rotter.
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Can you discuss where The Beast In Me fits into your body of work?
Howard Gordon: For me as a writer, it always begins with a question. I think that’s a crucial part of the creative process. A story can be sparked by a very universal question — like what does it mean to be alive? What does it mean to die? What does it mean to be a son, a father, a husband? These types of questions form the foundation of a lot of writing.
When approaching a project, I believe it’s essential to weave in elements that are relevant to the times we are living in. The current era is marked by a sense of atomization and polarization; people are increasingly isolated, which leads to a broader experience of loneliness, loss and grief. The narratives we often engage with seem to be fetishized. Everyone tends to cling to their unique truths, almost weaponizing those stories in discussions.
In creating The Beast In Me, both Daniel and I were drawn to a premise that felt particularly significant amid the challenges our society faces today. There’s an underlying narrative about how the mind can construct its own prison, influencing our behavior and interactions. It’s a unique moment in history, and I think the show reflects that.
What really piqued my interest in this project was its potential for rule-breaking. The Beast In Me doesn’t fit neatly into any one genre or structure; it’s dynamic and defies traditional expectations. That ambiguity was both appealing and daunting. Daniel and I came into this with fresh eyes, tasked with examining a premise that had been developed by others before us.
Howard Gordon. Photo by Jenny Anderson/ Getty Images for Netflix
Daniel Pearle: The power and danger of narrative are themes that have intrigued me throughout my career. This project embodies those central ideas, particularly in how it explores the complexities of relationships.
For me, having started in theater, I’ve always been fascinated by character dynamics, particularly in two-hander scenarios. There’s something incredibly compelling about the tension that develops when two strong personalities confront each other. With The Beast In Me, we have two lonely characters who almost seem to complete each other in a warped, yet unique way. However, there’s an inherent danger in that connection; it can be both pathological and captivating.
To make two characters effectively engage with one another, we had to dig deep into their motivations, emotions, and insecurities. Writing non-visually means focusing on dialogue that reveals depth and complexity, rather than relying solely on action. So, our challenge was to create compelling interactions and authentic conflict that would resonate with the audience.
How do you maintain that tension and sustain viewer engagement?
Howard Gordon: It’s all about creating relatable characters who elicit empathy and intrigue. Even when they are sniping at each other, the audience should feel the stakes involved in their exchanges. The key was to create authentic characters with complex backgrounds and fears. It’s essential to craft dialogue that is not only engaging, but also reveals something deeper about each character.
For instance, one character might reveal a deep-seated fear of abandonment during a heated argument, which transforms a typical quarrel into a revealing moment that brings the audience closer to understanding their psychology. By peeling back the layers, we can showcase their vulnerabilities, which ultimately makes the characters more relatable amidst the conflict.
Daniel Pearle: Compelling character dynamics often hinge on contrast and conflict. When you have two characters with opposing desires or motivations, it creates tension that is interesting to explore.
In The Beast In Me, we see two individuals who are lonely, but wrestling with their own demons. They are both searching for connection, but their methods of achieving that differ drastically, which leads to conflict. This tug-of-war between attraction and repulsion, safety and danger creates a rich narrative terrain for us to explore.
When crafting dialogue, the characters need to have distinct voices and perspectives. Ensuring that each character reacts truthfully to their situations adds realism to the piece. Their interactions should challenge one another and reveal new aspects of their personalities as the story unfolds. I aim to create a layered story that encourages viewers to invest emotionally in each character’s journey.
Discuss the source material for The Beast In Me.
Howard Gordon: It began with the book about Donald Trump – The Art Of The Deal by Tony Schwartz. Tony as at least partially responsible for creating this mythology of Trump as this mastermind businessman, which some would argue is a fiction.
I think Gabe Rotter was initially very drawn to this idea of a writer and a subject – truth, fiction, That relationship between author and subject that is not always as straightforward as it might seem.
Gabe Rotter had the original vision for the show. What those initial conversations with him were like?
Howard Gordon: The initial conversations with Gabe were incredibly important. It was clear from the start that he had a strong vision for where he wanted to take the series and understood that developing it further would require external insights. Daniel and I came in at a crucial point, and meeting Gabe was fundamental to our collaborative process.
It really took wholesale kind of reinvention. I think the three of us started off very much on the same page in terms of what was needed. Gabe appreciated Daniel’s and my clarity – not that we had all the answers, but I think we had all the questions.
We began by discussing what aspects of the original script were resonating, and more specifically, what might need deeper exploration. It was essential for us to honor the original intention of the series while also injecting our fresh perspectives. We looked at the themes, character arcs, and narrative structures to see where we could enhance the story, filling in gaps or expanding on ideas that might have been underdeveloped initially.
How did you balance maintaining the show’s original intention while also building on it with your own ideas?
Howard Gordon: hat’s a delicate balancing act. The goal was to respect the foundation that had been established while also pushing the narrative forward in a meaningful way. During our discussions, we focused heavily on the essence of the characters and their experiences. What was compelling about them? What truths needed to be unearthed?
We identified themes of loneliness, connection, and the consequences of narrative fixation, and these became our guiding principles. We wanted to deepen the psychological exploration of the characters and ensure that even as the plot evolved, the characters remained authentic and relatable.
The first order of business was really about establishing a collaborative rapport with Gabe. His openness to feedback made it easier for us to brainstorm ideas. We realized that by working together, we could create a more impactful portrayal of the themes we wanted to explore.
Daniel Pearle: Trust was paramount. When working with Howard and Gabe, I felt like I was in a safe space to share ideas without hesitation. This openness allowed us to explore concepts that might seem unconventional or risky, but ultimately made our narrative more enriching.
Daniel Pearle. Photo by Anka Garbowska
Being part of a collaborative team means you can tap into different perspectives, enabling creative solutions we might not have arrived at individually. We would often discuss how we could reframe certain scenes or merge diverse ideas that created intrigue within the narrative. Sometimes, an offhand remark during our discussions led to significant breakthroughs — those moments of spontaneity can fuel creativity.
Ultimately, working in a collaborative environment fostered a richer narrative and allowed us to explore the depths of our characters more thoroughly. We each brought our experiences and thoughts to the table, making the process both dynamic and fulfilling.
How long was the process from inception to the point where you felt ready to present the show to audiences?
Howard Gordon: It was quite an extensive process. From those initial discussions with Gabe to the eventual product that audiences would see, it took many months of back-and-forth iterations. Our focus was not just on fleshing out the characters, but also on finding the right pacing and emotional beats to ensure everything resonated well with viewers.
We engaged in numerous brainstorming sessions. Along the way, we shared drafts, seeking feedback from trusted colleagues who brought yet another perspective. This feedback loop helped us sharpen our narrative and ensure that it aligned with both our vision and the show’s original intentions.
One of the most rewarding aspects of this journey has been witnessing how our work and discussions have continually shaped the show into what it is today. It has evolved significantly since its early stages, becoming more layered and nuanced as we explored deeper dimensions of the characters and the themes we wanted to address.
Discuss the dark Nietzschean romance between Aggie and Nile?
Daniel Pearle: I’ve known people in my life who I loathed, but felt drawn to and felt compelled by and interested in. What is this perverse fascination we have? We’re culturally obsessed with sociopaths and killers and criminal profilers. There is this pull that Aggie and Nile have towards each other. I think both of them are craving a certain kind of contact and intimacy that is really missing from both their lives – [their romance if you will].
What was the most challenging aspect of developing The Beast In Me?
Daniel Pearle: For me, the challenge was definitely striking the right balance between intensity and authenticity. While we wanted to explore deep psychological themes and the darker aspects of loneliness and connection, it had to resonate truthfully.
We were treading on emotionally charged territory — how do we portray these characters realistically without diving too deep into melodrama? Finding that sweet spot where viewers could connect with the raw emotions and experiences was imperative.
Additionally, incorporating elements from both our backgrounds while maintaining a cohesive tone was another challenge. Marrying different writing styles, approaches, and sensibilities could’ve been tricky if not handled with care. However, I believe we navigated that successfully, and it has enriched the storytelling process.
Howard Gordon: I would echo those sentiments. Balancing authenticity while portraying difficult emotions was a core challenge for us. Moreover, as the story developed, we realized that the themes we were exploring had the potential to evoke strong emotional responses. Therefore, it was crucial to approach every character’s arc with sensitivity and respect.
Another significant challenge was ensuring that the pacing remained engaging. We needed to keep the audience invested in the characters while also propelling the plot forward. As Daniel mentioned, finding moments of tension that felt organic and earned rather than forced was vital to the storytelling. I want to process this story. I want to put myself in the viewer’s situation.
Can you speak to your hopes for how audiences will receive The Beast In Me?
Howard Gordon: My hope is that viewers will find something in the show that resonates with their own experiences — whether it’s the themes of loneliness, connection, or the complexities of personal narratives. I want them to see elements of themselves in the characters and maybe even challenge them to reflect on their truths and experiences.
Daniel Pearle: I fully agree. I hope audiences can see that this isn’t just a story about two characters; it’s a broader exploration of the human condition. We all navigate loneliness and at times experience isolation — and I hope viewers will find solace in the shared experience that unfolds.
In some ways, I wish for the show to spark conversations. If it can encourage viewers to engage in discussions about their own narratives and relationships, then we’ve succeeded. Creating a platform for dialogue about these themes is important to us.
[More: Howard Gordon Talks “Accused”]
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