Jay Roach: Celebs Rumors

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variety.com
Patricia Arquette and Director Jay Roach on ‘High Desert,’ the Writers Strike and Making an Underground Comedy
Pat Saperstein Deputy Editor In the new Apple TV+ comedy noir series “High Desert,” Patricia Arquette and Matt Dillon play an off-and-on again couple so naturally that it seems like they must have starred together in some iconic 1990s indie movie. Surprisingly, they haven’t, but the off-kilter, sun-baked menace of films like Arquette starrers “True Romance” and “Lost Highway” permeates the new series, which is peopled with what Arquette calls “wild and weird creatures” in an environment that alternates between arid beauty and strip mall desolation. In “High Desert,” Arquette’s methadone-dependent, perennial wild child Peggy Newman could not be more different than her buttoned-up “Severance” character Harmony Cobel, whether she’s piloting a dune buggy around the desert, swinging from a chandelier in a Pioneertown Old West show or getting mixed up with another half-baked scam. Peggy, who recently lost her mother, needs to raise money to stay in their house. She hatches a plan to become a private investigator, getting mixed up in cases involving art forgeries and a missing guru’s wife and more. “High Desert” premiered on May 17, with new episodes rolling out weekly.
variety.com
Patricia Arquette Sets the Tone for Noisy, Chaotic PI Comedy ‘High Desert’: TV Review
Alison Herman TV Critic Patricia Arquette likes to go big. In 2018’s “Escape at Dannemora,” she donned copious prosthetics to play a prison employee who assists in an escape. In “The Act” the following year, she played an eerily doting mother with Munchausen by proxy. And in “Severance,” she’s an unhinged boss who lives a double life, surveilling her employees on and off the clock. The actor earned an Oscar in 2015 for a grounded turn in “Boyhood”; on TV, she lets her hair down. With “High Desert,” Arquette amps up the volume even further. Unlike those earlier outings on the small screen, the Apple TV+ comedy puts her at the top of the call sheet as Peggy Newman, a drug dealer turned methadone user, frontier-era reenactor and aspiring PI. But Arquette brings a supporting player’s lack of inhibition to the leading role. Others might feel the need to rein themselves in and play the straight woman to anchor a cast of eccentrics. Arquette makes Peggy a chaos tornado in feathered bangs, growling and rasping her way through a series of harebrained schemes. An early scene introduces Peggy hanging from a chandelier with her bloomers out, careening into a bar as part of a dinner theater display. The actor then sustains that momentum for eight consecutive episodes.
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