Lily Gladstone and Riley Keough investigate a chilling murder
The First Art Newspaper on the Net    Established in 1996 Wednesday, July 24, 2024


Lily Gladstone and Riley Keough investigate a chilling murder
Lily Gladstone, right, and Riley Keough in Los Angeles, April 15, 2024. The actors are co-stars in “Under the Bridge,” a new true-crime series based on a teenager’s brutal killing in British Columbia. (Amy Harrity/The New York Times)

by Alexis Soloski



NEW YORK, NY.- “We’ve been teenage girls,” Lily Gladstone said. Which means that Gladstone and her co-star, Riley Keough, know what teenage girls can do.

In “Under the Bridge,” a limited series now streaming on Hulu, Keough and Gladstone play a writer and a cop investigating the 1997 beating and murder of Reena Virk, a 14-year-old Indo-Canadian girl. Six teenage girls and one teenage boy, many of them Virk’s classmates, were eventually convicted.

The case has inspired plays, poems, documentaries and several books, including Rebecca Godfrey’s 2005 literary nonfiction work “Under the Bridge,” which gives the series its shape and name. (The show also relies on a memoir by Virk’s father, Manjit Virk.) Though Godfrey died in 2022, before filming began, she worked closely with the show’s creator, Quinn Shephard, on its development. Keough, who also produced the series, plays a version of Godfrey. Gladstone plays Cam, an invented character, a Native law enforcement officer who was adopted as a child by a white family.

While “Under the Bridge” centers these women as adults, it includes scenes of the same characters as teenagers, drawing lines between the girls they were and the women they are.

This month, Keough, who was filming in London, and Gladstone, who was in Seattle, met for a video call. In an hourlong chat, they discussed girlhood, violence and making a true-crime series that sidesteps sensationalism. These are edited excerpts from the conversation.

Q: What were you like as teenagers?

LILY GLADSTONE: Whenever I meet anybody from high school, “Oh my God, you’re the same person” is pretty much what I hear. That version of Lily really built the foundation for who I am now. She had this sense of where she wanted to go. She cracks me up a little bit. Riley, I get the sense that you had a lot of energy, though I don’t want to say you were ever too much to handle because you don’t really have that vibe.

RILEY KEOUGH: Well, my parents would have said differently.

GLADSTONE: Mine, too. They say there’s a reason I’m an only child. But I feel like if I was your teacher, I would have been like, “She’s going to do some pretty awesome things.”

KEOUGH: I needed that teacher. I would say that I was always very sensitive and kind. The kids that maybe didn’t have friends, I always wanted to sit with. I had that instinct. But I had a wildness in me, too. I’m an adventurous spirit. I wasn’t a teenager who was a very big problem or anything. I just loved life and I wanted to experience it all.

In my heart, I am the same person. But it’s been a confusing journey. It’s funny that I’m an actor because I never wanted attention. I never wanted to stand out. Over time, I’m just more comfortable being myself.

Q: What drew you to the series?

GLADSTONE: Honestly, the first spark was hearing that Riley was attached. From there, I had conversations with Quinn and Samir (Mehta, the showrunner) into what kind of meaning could be found in a senseless act of violence. Having just come off another “true-crime” piece (“Killers of the Flower Moon”) that self-indicted sensationalism and looked at the people that were affected as well as unearthing some of the systemic issues that create these scenarios, I was really interested in this one because of how it indicts all of us in what was happening around Reena Virk.

It was really clear to me that this was another opportunity to have a nuanced conversation about the systemic failures of law enforcement. When you’re making a true-crime story but being self-aware about it, you can go on a journey with your audience and have a conversation about these things in a way that didn’t happen at the time.

Q: Were you surprised that teen girls could be capable of something like this?

KEOUGH: No, no, not at all.

GLADSTONE: We’ve been teen girls. Not that we necessarily have the ability to do something like that. But certainly we were teenagers with other teenagers. Teenage girls are some of the most powerful people on the planet. And anybody that’s got that much power has the capability to be an ungrounded wire with it.

KEOUGH: That can be a really volatile time for the human spirit.

GLADSTONE: Identity formation with a big old shot of hormones.

Q: Having made this series, do you understand why the girls did this?

KEOUGH: Every human being is different. For one kid, the answer could be psychosis. For another kid, the answer could be trauma. For another kid, the answer could be substance abuse or peer pressure.

GLADSTONE: I was 11 years old in 1997, just a shade younger than these kids. Two years later was Columbine. Back then, people were blaming the music kids were listening to, violent video games, whatever scapegoat they wanted to. I just remember getting so frustrated when people would blame music — I liked Nine Inch Nails when I was that age.

KEOUGH: I liked Marilyn Manson at the time.

GLADSTONE: I remember thinking it was bull. Like, nobody’s really looking at who these people are.

Q: Does female violence manifest differently?

GLADSTONE: I remember having an awareness of how girls will fight to the death, and boys just fight until they feel better. Girls scratch. They pull hair. They kick. They bite. They go at it until there’s intervention.

KEOUGH: But again, it’s case by case. It could be to impress the cool girl in school, or it could be that something’s going on at home.

Q: Why is your version of Rebecca so drawn to this story?

KEOUGH: I don’t think she knows. There’s something that grabs her. She feels like she’s there in that moment for a reason, then she decides to start writing about it. Rebecca inserts herself into a situation that she does not need to be in. There is a massive amount of privilege in being able to do that, and that is hard for Cam to watch. It’s Cam’s duty to be there, whereas with Rebecca, it’s a little confusing what her agenda is.

Q: What attracted you to Cam, Lily?

GLADSTONE: This sense of being a woman in a man’s world and also being an outsider. Cam represents a lot of conversations that are not in the book itself but that were worth including. The murder happened just by tribal land. The bridge connects the municipality to a reserve. So inherently, there’s a First Nations presence in the story. I thought it was a brilliant construction to have a First Nations, adopted cop, who feels compelled to Reena in a way that becomes clearer and clearer to her.

Q: What was filming like? Did the landscape inform the show?

GLADSTONE: The landscape, culture, people. There’s a really strong First Nations presence — the art on the buildings, the faces in the streets. That was a helpful thing for Cam because she grows up knowing that she’s Native, but she doesn’t know how to engage with it. The climate, it’s overcast a lot of the time, but it fluctuates almost hourly. Some days it feels like California, some days it feels like the British Isles. So there’s this unpredictability and moodiness.

KEOUGH: I really get affected by the location I’m in, the deep earth and the nature. So that must affect the way that I’m playing a character.

GLADSTONE: You were cold the whole time.

KEOUGH: I was freezing. So that was a character choice.

Q: This is a terrible crime, committed by young people. Should anyone be defined by the worst thing they’ve done?

GLADSTONE: Individuals are such a conglomerate of everything that’s happened to them — their environment, circumstances, ability. A lot of conversations now are about restorative justice. I’m really happy that there are several examples in our series.

KEOUGH: There has to be a road to recovery for human beings. Reconciliation has to be an option. We have to try and move toward empathy and understanding and compassion and away from shame and harsh punishment, because I don’t think violence is ever the solution. (But) if people are committing horrific crimes, there should be repercussions.

GLADSTONE: Even if a person’s worst action doesn’t necessarily define them, worst actions do define the world for everyone else.

Q: Do you think that the girls you were would be proud of the women that you are now?

KEOUGH: I’m proud of Lily!

This article originally appeared in The New York Times.










Today's News

April 26, 2024

Sharon Stone's New Exhibition at Gallery 181 in San Francisco

A megaraptor emerges from footprint fossils

Long-lost Klimt painting sells for $37 million at auction

The Venice Biennale and the art of turning backward

Denenberg Gallery opens an exhibition of recent work by Marc Pally

Getty Museum agrees to return ancient bronze head to Turkey

Everything you need to know about the 2024 Met Gala

Serpentine unveils major new public sculpture by Gerhard Richter

Three vibrant and colorful paintings by Maud Lewis sell in Miller & Miller's online auction

Stolen antique clock returned to museum after 20 years

Mexico City-based artist Tania Candiani receives Bemis Center's Ree Kaneko Award

Morphy's lively Las Vegas Coin-op & Antique Advertising Auction closes near $4M mark

Janet Borden Inc. opens the first exhibition devoted to Martin Parr's fashion work

Pier 24 Photography opens last show before closing

Inside the crisis at NPR

What to know about Venice's fees for day trips

In coral fossils, searching for the first glow of bioluminescence

'Oh, Mary!,' a surprise downtown hit, will play Broadway this summer

Steve Carell as the 50-year-old loser in a comic 'Uncle Vanya'

Lily Gladstone and Riley Keough investigate a chilling murder

Helen Vendler, 'Colossus' of poetry criticism, dies at 90

For Maxine Hong Kingston, age is just time going by

How 'Stereophonic' made musicians out of actors

The Role of Virtual Reality in Architectural Renders

Truck accident injuries in Tucson: Is an attorney necessary?

SMONET RLM1000: The Ultimate Solution for Busy Homeowners Seeking Automated Lawn Care

Brawl Stars: Is 2024 the Right Year to Play the Game?

How LED Mirror World's LED Mirrors Can Transform Your Space




Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .

 



Founder:
Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez
Writer: Ofelia Zurbia Betancourt

Attorneys
Truck Accident Attorneys
Accident Attorneys

Royalville Communications, Inc
produces:

ignaciovillarreal.org juncodelavega.com facundocabral-elfinal.org
Founder's Site. Hommage
to a Mexican poet.
Hommage
       

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site Parroquia Natividad del Señor
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful