My name is Eddie, and I was in a cult. Season 2 of The Path premieres Jan. 25, only on Hulu.
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The Path follows a family at the center of a controversial cult movement as they struggle with relationships, faith and power. Each episode takes an in-depth look at the gravitational pull of belief and what it means to choose between the life we live and the life we want. The series blends elements of mystery-thriller, romance and the supernatural.
On twitter the hashtag “#NothingStaysBuried” was used to share the trailer with fans. You can view that tweet here (don’t forget to follow if you haven’t already!). The song in the trailer is Until We Go Down by Ruelle [ buy on itunes ]
This new season looks like it’ll be one amazing thrill ride! Remember to renew your hulu.com subscription if you haven’t already.And sound off in the comments or on social media using the hashtag #NothingStaysBuried to express how excited you are for the new season.
So says Michelle Monaghan as she, Aaron Paul, showrunner Jessica Goldberg and others keep it light on the set of the show about a cult-like religious group even as they shoot intense scenes about passionate affairs, messy rivalries and bursts of violence.
The Path are shooting a scene in which Eddie (Aaron Paul) quite literally is threading a needle, or trying to — he’s blindfolded. “Stay close to the light,” intones his elegant spiritual mentor, Felicia (Adriane Lenox). “The light provides everything you need.” Paul misses once, twice, then guides the thread through. Awestruck, he lifts the blindfold and raises his eyes to Lenox. “OK, cut,” says veteran director Phil Abraham. Paul pumps his fist. “That’s how you do it,” he says. “Badaboom badabing.”
The first season of The Path introduced viewers to the Meyerists, a cult-like religious group struggling to move forward after its founder falls ill. The second season ratchets up the pressure on both leaders and followers. But the set of the intense show — which features passionate affairs, messy rivalries and bursts of violence — is calm and efficient. “We keep it light and focused,” says Paul. “A lot of that starts with Jessica [Goldberg, the show’s creator and showrunner].”
On the monitor, Sarah (Michelle Monaghan) now is in the same hotel room having a confrontation with Felicia. It’s a grim moment, but Monaghan laughs after finishing the scene. “It’s a great environment,” she says. “We get to bring the drama and the weird.”
There’s a palpable respect among the cast and crew of Path, and that extends to the writing and to Goldberg — who looks remarkably alert, considering that she just got off a red-eye flight from Los Angeles. She waves away any compliments. “Look, one of the blessings is having met [executive producer] Jason Katims. He knows how to create a good place to work, and he’s not a time-waster. It’s good to be mentored by someone like that.”
A key strength of the series is that it presents the Meyerists as having a range of faith and belief. Goldberg has set up a kind of religious love triangle: Eddie is the doubter, Cal [Hugh Dancy] the pragmatist, and Sarah the true believer. Tensions among them become more pronounced in the second season. “The first season was about people, and with the religion, maybe the skeptics were right, maybe there’s nothing,” says Goldberg. “This season we’re exploring if maybe there’s something.”
It’s time for lunch, for the crew at least. Paul heads to his dressing room to run lines, and Monaghan is giving a set tour. Goldberg ducks into a production meeting. “I heard that script is turning out great,” she says. “How’s it going with this episode. Amazing?”
— The Path (@ThePathOnHulu) November 16, 2016
The official twitter for the series The Path (@ThePathOnHulu) posted the above teaser today with a release date for Season Two. How excited are you for the upcoming season? Don’t forget to mark your calendars (and renew your subscription to hulu if you haven’t already).
I have added two sets of Hugh behind the scenes of Season Two of The Path. Thank you to my friend Lah from zigazig-ha.com for sending these our way!
I have added scans of Hugh with his co-stars Aaron Paul and Michelle Monaghan in the May 23rd issue of TV Guide magazine. Thank you to my friend AliKat from katheryn-winnick.us for sending these our way!
Following three seasons of playing criminal profiler Will Graham on Hannibal, Hugh Dancy delighted fans when he returned to the screen so quickly after the cult NBC series was canceled, starring on The Path on Hulu.
The new series, created by Jessica Goldberg (writer and producer of Parenthood) and executive producers Jason Katims and Michelle Lee of True Jack Productions, saw the English actor trade serial killers for religious fanatics as Cal Roberts, an ambitious leader within a fringe religious movement.
While struggling to maintain some control of the Meyerist Movement, Cal had to battle his many internal demons, which didn’t always stay as deep or tucked away as he liked. Following the finale, the 41-year-old actor talked to ET his understanding of Cal, the joys of sermonizing onscreen, and being a star on Hulu:
Entertainment Tonight: First off, congratulations on the show. I was just curious, what was your take on The Path when you first joined? Did you realize what exactly it was going to do?
Hugh Dancy: I often realize how seriously Jessica Goldberg and the other writers were taking the question of faith, and the individual faith of the different characters, and that to me, is what made me want to commit to it. I suppose what I didn’t know that it was some form of a power struggle or a quest for power. I don’t think I knew — and I’m not even sure the writers knew — the degree to which they’d allow kind of hints of spirituality or mysticism, like genuine mysticism, to bleed into the show. I think that adds a whole different note to it.
One thing I liked, especially in terms of your character, this slow descent into a sinister character who’s really struggling for control of power. And I was curious, how did you balance how dark to go with each episode, and how much to let viewers see?
Certainly, the blueprint’s in the script overall, but I had to decide for myself how heavily to lean on the fault lines that are running through him, in terms of his background, his upbringing, and then there’s the extreme pressure that’s been brought to bear on him, just because of his isolation at the top of the movement, essentially, nobody else knowing what he knows. Both those things I was quite sympathetic towards, I felt like he was struggling to stay afloat on top of a really raging sea, not of his making, certainly. Then as he tried to navigate all of that, there was a secondary factor, which is that his own ambition, his own alpha-driven desire to control. That, I suppose, I have less sympathy for. Ultimately, just the goal there is to have you understand to some extent what’s driving him, and be a bit horrified by it, but not completely lose everybody’s sympathy.
Tell me about a favorite moment from filming this season.
I think I enjoyed — I mean, broadly speaking — the span of the character, in the sense that he can focus very, very intently on an individual and laser in on them. But he also has the capacity to stand in front of a big, big crowd and preach. It’s rare that you get the opportunity to flex all those muscles. He is a performer and he is theatrical. So, I got to indulge that. I suppose those sermonizing scenes and, particularly in the first episode, when I’m recounting the story of Plato’s cave. They were daunting but enjoyable.
I also love that Cal is listening to these self-help tapes about the idea of smiling and presenting and how you win people over. Did you think much at all about things like the facial expressions or your body movements, and what he would do in terms of getting control of people?
To a degree, I mean without sitting down and being exact about it, it factors into the way he carries himself, the way he speaks. If you have the kind of confidence that he does, it’s going to affect the way you sound. What I found interesting about him was that he, to some extent, he’s in a leadership role for a long time, but he’s been thrown into an entirely new and unexpected spotlight. All of which is basically unwanted on his part. He’s rapidly struggling to catch up. He’s got charisma but he’s also kind of doing Charisma 101.
Considering that you’re now on Hulu versus a traditional network, like NBC, are the expectations for the show different? What’s the experience like being on this kind of network?
Well, you know, it’s interesting because in terms of Hannibal, NBC was very — at least, from where I was sitting — very hands-off in a good way. Very quickly they gave the controls to [creator] Bryan Fuller. Maybe it would be the more typical network experience, where there are a lot of people looking over your shoulder. That said, I don’t know that anybody on the network would have commissioned The Path and then just put it out there in the world and had faith that it would slowly gain an audience. You just can’t do that.
What did you learn about yourself, filming the show?
What I learned was that regardless of how you define yourself in terms of your religion, or your beliefs, everybody has some desire for meaning and for belonging. So any one of us — including myself, I suppose — are potentially open, or I would say vulnerable, to this kind of experience that the characters on the show are having.
Paul: Does he have his lines memorized?
Hiddleston: Hugh Laurie is the most diligent, most serious, most professional actor you could possibly work with. Woe betide the actor who is not ready to work with Hugh. He’s a true pro. Hugh has his lines memorized, sometimes lines that he’s written himself.
Paul: That’s like Hugh (Dancy) on “The Path.” I’ve never seen him with the set of sides. Which, for me, I mean I come prepared, but it’s nice to have that as a security blanket.
Paul: But I look at Hugh… I really look up to him. I mean, he’s such a phenomenal actor, but he’s never once looked at a page of sides.
Hiddleston: It’s interesting. I always find there are some actors who come with the script completely internalized and never have to look at it, and they come very ready with ideas to pitch about staging. And other actors who are more fluid. And there’s no one way that’s better. I think some people like to feel their way through it and be spontaneous, and other people like to have thought about it before.
Paul: Right. This is a big difference that I see with TV and film. Film, the script tends to, at least in my experience, tends to somewhat stay the same, in terms of the dialogue and the story. And with TV, I’m getting pages the night before, with the scenes being completely changed. I like having my little security blanket.