![]() He had a huge body of work behind him, of course, as a reporter, feature writer, author and editor. Hello Tomorrow! is available to stream on AppleTV+, with new episodes dropping each Friday.No one can fill the hole left in British journalism by Ian Jack. There’s a real authenticity and his way of being that he hopes will begin to build trust with Joey in a way that they can have a relationship. Jack’s desperate to make up for past mistakes. It might be different if he was at Madison Square Garden and he knew that there was a bunch of skeptical New Yorkers looking at him, there might not be as big a smile there, you know? With Nick’s character, Joey, there’s another thing that’s happening. In Jack’s mind, that’s what this community needs. You want somebody who’s going to comfort you on something so exotic. They want to make sure that it’s safe, it’s exciting and it’s affordable and it’s thrilling. People who have signed up to hear about timeshares on the moon want a big toothy smile. ![]() Jack has a great ability to read people and try to figure out how to meet them where they are. I think it’s all about what he thinks they need. The human condition is: how do we, day after day, overcome our flaws so that we can keep enough hope in us to keep us dreaming for a better tomorrow? Can we talk about this smile you do and how it changes to suit who your character is speaking with? Like every good story, there’s a thread of truth in there. I do believe there is some reality to Jack’s Brightside, but I don’t know if it’s the one he’s selling. If you get the price point right, maybe it fills the consumer with enough joy or optimism, or imaginative thinking that it’s worth the price. You pay a fee and they’re promising great storytelling. Do the ends justify the means in his mind? Your character Jack is literally selling timeshares on the moon but he’s also selling, figuratively, optimism, which audiences find out very quickly is based on a lie. Billy Crudup, Nicholas Podany, Haneefah Wood. I don’t need to talk to the director, the producers, or whatever, yes, yes, yes.’ And they’re like, ‘Okay, slow down there, tough guy.’ That effort of writing something and being so thoughtful about a piece of storytelling they cared enough about it to create a gorgeous script. I don’t need to talk to anybody over there. I finished the script, called my agent and said, ‘Yes. These are human beings living through the same kind of human experience that I feel the people in the 50s-in the 1850s and the 1750s and the 2550s-will always be living. Next to that were pages of beautiful dialogue about these characters that felt so familiar to me. You really got a sense of what the world was that they were trying to create. They filled the script with all the iconography of these robots and these gadgets and stuff. But what made me want to get involved was when I read the first two episodes. I don’t even remember asking to be an executive producer, I just found out I was an executive producer at one point, which is a wonderful thing, to be sure. What made you want to sign on not only as an actor but as an executive producer? This show is unlike anything I’ve ever seen before, maybe outside of The Jetsons. The only person that can see through Jack to his core is his straight-shooting mother, Barbara, played by Jacki Weaver, who watches on as Jack tries to forge a relationship with his estranged son, Joey (Nicholas Podany), of 18 years. As cracks in the Brightside façade start to show and the web of Jack’s deceit, however well-intentioned, comes into full view, audiences confront one of the great Machiavellian dilemmas: whether the ends can ever justify the means. Hello Tomorrow! is as much a sci-fi critique of capitalism as it is an unflattering portrayal of the American dream. We’re changing lives.” And later: “What’s life without a dream to make it go down easy?”Īll of this comes with the caveat that if things seem too good to be true, they probably are. As a traveling salesman peddling residential units for a lunar colony called Brightside, Jack looks at the moon and sees dollars, of course, but also optimism, “human opportunity, a place to plant yourself and leave your troubles behind.” As he tells his colleagues in episode one: “We’re not just selling. ![]() Compared to his character, Jack Billings, in Apple TV+’s new retro-futuristic dramedy, Hello Tomorrow! it’s more philosophical but no less romantic. ![]()
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