Amid the rampant success of Netflix’s horny serial killer drama, the former Gossip Girl star (and TikTok sensation) is still learning how to deal with ungodly levels of thirst
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Penn Badgley is not done with You
Amid the rampant success of Netflix’s horny serial killer drama, the former
Gossip Girl star (and TikTok sensation) is still learning how to deal with ungodly levels of thirst
By
Kerensa Cadenas
14 March 2023
When Penn Badgley enters the Ace Hotel’s restaurant on a warm but grey winter’s day in Brooklyn, the two women next to me, who had been chattering over a table of shared plates, begin shrieking.
“I
need him.”
“Shut the fuck up!”
When Badgley comes over to introduce himself, these women – evidently among the millions of fans of his Netflix series
You – berate me for not telling them who I was waiting for. They ask Badgley for selfies, and he obliges while the women ask him things like “Will you stalk me?” and “I want to be loved like that!” It’s only after they reluctantly return to their own table that Badgley takes a deep breath and settles in. “I’ve seen this many times,” he says.
Badgley has been playing Joe Goldberg on
You since 2018, and the furore around the show and its protagonist – namely that fans can’t help but openly lust after him despite his murderous tendencies – seems to grow exponentially with each passing season. The striking features and dark curls that made Badgley a
Gossip Girl crush back in the mid-noughties (he played that show’s lead, Dan Humphrey, and – spoiler – the titular gossip blogger) are once again put to killer use. Joe is, at least on the surface, a dream guy – gorgeous in an unkempt way, an avid reader and attentive listener. The twist is he’s also a serial murderer with a penchant for killing the women he claims to love.
© 2022 Netflix, Inc.
That little detail hasn’t done much to deter the lust for Joe or, by proxy, Badgley. After its February premiere, part one of
You season four – which sees Joe
relocate, clunkily, to London – was in the top 10 most-watched
shows on Netflix in 90 countries. A quick search for “Joe Goldberg” on Twitter unearths the depths of attraction and revulsion people feel towards the character, from fancams set to pop songs about psychopaths to pithy memes and many,
many thirsty tweets. Still, the interaction at our table seems to have unsettled Badgley a bit. “I can't recall someone literally saying, like it was a tweet, ‘I want someone to love me like that’,” he says. “It's different hearing it in person.”
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Things around us have calmed down: the women have left and the rest of the restaurant seems unfazed about Badgley’s presence, with only a few stolen glances coming our way. Still, our waitress can’t help but chime in, too. “I can’t believe I’m serving you,” she says as she takes his eggs order (over easy, if you were wondering).
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“I have been in this position now for 16 years,” he says. “[
Gossip Girl] was the first time I had my face on a Times Square billboard. And I have another one this season. For anyone to act as though that's just a byproduct of what you do, I think is outlandishly delusional.” He is conscious of how these
parasocial relationships that other people have with him affect his own real-life relationships. “Every relationship you have – every single one, down to your parents, your children, and everybody outside of that – it influences every single relationship in ways that are always unpredictable and a bit tricky. And then everywhere you go,
that happens.”
Fame is something Badgley has lately begun to examine head-on. He recommended that his
You co-star Lukas Gage – who is currently in a position similar to Badgley’s early days on
Gossip Girl – read an essay by Zadie Smith about fandom entitled “Meet Justin Bieber!”. “It is the most brilliant analysis of the phenomenon of fame,” says Badgley. "She pontificates on her own fascination with mega-celebrities like Michael Jackson and Justin Bieber, how they become a love object and how people interface with that.”
“[Badgley] holds [this position of fame] with tremendous grace, and that very much predates this show,”
You creator Sera Gamble tells me over the phone. “It's something that he had to learn when
Gossip Girl became a big hit and he was recognised everywhere he went. It's fundamentally just an insane thing; the
fever pitch of the parasocial relationship is kind of terrifying. Penn has a wonderful sense of humour about it, but I think it's very strange to be treated that way when you're just walking through the world.”
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You’s most recent season opens with Joe teaching English classes at a British university under the identity of Professor Jonathan Moore. After a colleague gets him involved in a group of upper-crust socialites, he becomes close with a writer, Rhys Montrose (Ed Speleers). But over the course of the following episodes, Joe’s new life spirals: he’s being blackmailed by an unknown texter, falls for a new woman, Kate (Charlotte Ritchie), and another serial killer is targeting his new friend circle.
You has always been a show full of wild twists and turns, but seemingly setting Joe up to become a hero felt like the biggest shock of all. After all the bodies he’s buried, making him into a
Batman- or Dexter-esque figure risked being
You’s jump-the-shark moment. Thankfully, Gamble and Badgley always knew they would never give Joe an easy way out. “The whole thing has been building towards seeing Joe in a different light, truly, which we've never ever done before,” Badgley says.
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When you do see Joe’s now-infamous glass cage (where he has held victims captive throughout the entire series), the weight of what’s about to happen in the second half of the season sinks in. His star student and amateur sleuth Nadia (Amy-Leigh Hickman) discovers that Professor Jonathan Moore is actually serial killer Joe Goldberg, starting the ball rolling for his downfall. “It has to go to this place for five episodes where it's like, ‘Is he going to become a hero as we've all wanted him to?’ It doesn't make any sense when Joe becomes a hero,” Badgley says. “This is the only place the show could have ever gone and remain relevant, remain responsible, remain intelligent, remain sensitive, but true.”
The climax of the season (spoilers) is the audience’s realisation that the Rhys we’ve been seeing is just a figment of Joe’s imagination, a physical embodiment of the darkest side of his personality. Joe has been the “
Eat the Rich killer” all along, and the do-gooder version of himself has been entirely unaware of it, having experienced a total psychotic break. Things come to a head when, having realised the situation, Joe attempts to kill the “good” part of himself, along with the real Rhys. “First of all, the depiction of suicide is an incredibly important and sensitive and volatile topic,” Badgley says. “He does attempt [it]. However, the bizarre logic of this show, which I think at its best works really brilliantly, is that he's not killing himself. It doesn't feel to me at all like a depiction of that. It didn't feel like that when we were making it. It didn't even feel like that when I read it.” When Joe pushes Rhys (and by proxy himself) off a bridge, he’s only killing himself to save Kate and others from his patterns. “Joe is still following the logic that he's always followed, which is, ‘I'm going to kill someone to save another.’ And the irony is that even in that act, he's still self-centred. I'm interested to see how people may respond to that.”
“THE WHOLE THING HAS BEEN BUILDING TOWARDS SEEING JOE IN A DIFFERENT LIGHT, TRULY, WHICH WE'VE NEVER EVER DONE BEFORE.”
Splitting the fourth season up into two parts might have been detrimental to the storytelling, if
You’s creators hadn’t stuck the landing. I mention to Badgley that after watching the first half, I was worried about where the show was going to take Joe next. Badgley had the same feelings: “It wasn't ever meant to be released as two parts. I don't know what the conversations were with Sera Gamble and [cocreator] Greg Berlanti, for instance. I think that's just
Netflix's economic reality. And I think it makes sense, generally, to release things in instalments. I like that. When I found out, I was like, ‘We're going to leave a month between [episodes] five and six? That's a big old diversion.’ Because, to me, it doesn't all come home until you finally see the cage.”
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It’s not only in Joe’s psychosis that
You has departed from previous seasons. His relationship with Kate is different from past entanglements – although the couple shares romantic moments, they tend to involve banter over bad Indian food instead of heavy petting.
On his
podcast Podcrushed in February, Badgley revealed he asked
You creator Sera Gamble if he could opt out of sex scenes in the show. “Fidelity in every relationship, including my marriage, is important to me,” Badgley explains. “It’s got to the point where I don’t want to do [sex scenes].” Badgley has been in a relationship with Domino Kirke, a doula and singer, since 2014; they have a son together, and he’s the stepfather of Kirke’s son from a previous relationship.
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The comment was one of those fairly innocuous things that, overnight, turned into a rampant online debate about the
future of onscreen intimacy, with many who questioned his suggestion taking qualms with his reasoning – that simulated sex equated, in some way, to cheating, or at least had a negative impact on relationships. Badgley says that he was somewhat taken aback by the reaction to his comments, which feel “blown out of proportion”, but is all too aware of how the internet takes things out of context. “What I was speaking about wasn't actually the final product,” he says. “It was sort of like the culture inherent to the production of all movies, but particularly those scenes. It's like, look, we know that
Hollywood has had a history of flagrant exploitation and abuse.” (Gamble says that Joe will always be a “romantic hero”, even if the sex on the show is depicted differently than before.)
Setting boundaries at work is anyone’s right, but for Badgley, the confidence to do so has only come with his increased power over the course of his career. “I was nervous to even have that conversation. It was not easy. It was easy because of Sera's response, and I felt relieved. But technically speaking, if I thought I'd had the ability to set that boundary earlier, I would have.” He is, he says, testing the water with this idea, aware that it may impact his career. “We shall see if setting that boundary, of course, has any ramifications. Just simply, it does limit the number of projects you can be a part of.”
Did his decision impact the writing of the show? “It didn't change the trajectory of the season at all,” he says. “I mean, Joe was naturally ready to not be in that position anymore.”
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Throughout our breakfast, Badgley speaks about wanting to be authentic, transparent, and perhaps radically honest – even if it puts him in the line of fire. “Every couple of days I'll get on Twitter and just do a
quick scroll. And I saw somebody saying something about something that they thought I'd said, which was several layers of context from what I did say. And this person was like, ‘Can this douche please shut up?’ It was something along those lines. And I was just like, ‘Yeah, bro, feel you.’”
For Badgley, fame now feels like an area of study, where he can learn more about the place he wants to inhabit. He mentions Zadie Smith’s essay again, urging me to read it; when I do, I think of the women at the café seeing Badgley as a kind of illusion – a man made up of the characters he has played.
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It’s an idea Badgley has been exploring of late through his
TikTok. His videos play with the idea of celebrity and his own complicated relationship with it. Badgley’s first TikTok in October 2022 shows him getting a surprise visit from Joe, set to
Taylor Swift’s “
Anti-Hero” (“
I’m the problem / it’s me”). He regularly responds to fans and does choreographed dances with them, and recently appeared on
The Drew Barrymore Show, with Barrymore trapped in Joe’s glass cage. “Authenticity is a challenge for people in my position, because you can have good intentions and you can try to start a meaningful conversation, but frankly, there's just too many people involved,” he says. “So past a certain point, I don't know what's authentic. Fame challenges that to the most extreme degree.”
Badgley talks a lot about existing in the middle of things. His production company, The Middle Productions, is named precisely for that space, one that he’s always found interesting – spiritual, even. What he’s trying to do with his TikTok now, he wouldn’t have been able to 10 years ago, he tells me as he sips his tea. “Part of it is maturity. Part of it is recognising that I know who I am and who I'm not and where I am and where I'm not. And the transition from
Gossip Girl to becoming
You is a unique opportunity that isn't afforded to a lot of people who are working. There's an aspect of cultural conversation between the two shows. I think the TikToks are finally making an art of it, as I see it.”
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Right now, Badgley is not sure how he’ll feel when
You ends. Even if season four so far feels like the beginning of the end of Joe’s journey, Badgley can’t confirm or deny rumours about a fifth season of the show. “I know what Greg pitched me a few years back as what he thought was the right way to end. If there’s another one, it’s going to be, I think, a grand finale.
”
Aside from getting some relaxation when
You ends, he knows he wants to continue his behind-the-scenes work, read more, play some guitar, maybe see more films in theatres (the only one he’s seen of late is
Jordan Peele’s Nope, which he loved), and spend time with his family. Playing Joe, he says, has not been without its tribulations. He’s able to shake off the mental aspects of the character. “The only aspect of it that stays with me is the physical,” he says. “I have
back problems often in the middle of the season – there's a physical echo of being that tense for that much of the day.”
The next steps of his career will likely be behind the camera (he made his directorial debut with
You season four’s penultimate episode). “Maybe because I've done this now for so long, directing and writing and producing are all far more interesting to me,” he says. He has recently bought the rights to David Sedaris’s short story “Jamboree” for a feature film.
As we finish up, we realise we’ve been so deep in conversation that we haven’t noticed a fire alarm has been going off.
“Am I saying woe is me? No. But I'm taking stock of my life and my experience,” Badgley says. “The intellectual experience, what I'm able to spin from it, is the stuff of life. You don't really have freedom or control over the way you feel. You have freedom and control in how you respond to your feelings. So my life in a way is how I respond to all of this – and that, I feel good about.”