Elizabeth Olsen plays a housewife accused of murder on HBO Max’s “Love and Death,” her latest project decoding a character’s perplexing behavior.
“WandaVision,” which mimics American sitcoms through the decades, is set in a blissful alternate reality Wanda creates and manipulates as a means of coping with the death of her partner, Vision . Its nine episodes offered Olsen the real estate to dive into the psyche of a reformed villain whose grief encourages her to revert to some of her more harmful tendencies.
Acting can be a very analytical craft; Olsen often thinks before she feels. She relays a version of the Practical Aesthetics technique developed by Atlantic Theater Company co-founders David Mamet and William H. Macy, which — in short — involves identifying what is happening in a scene, what a character wants and what universal human desire they’ll act upon to get it. “The general rule of making something interesting,” she says, “is not making your action and your want the same.
She wants to feel something. She wants to push boundaries. But she is stuck in her marriage to the kind yet emotionally distant Pat , who at one point accuses her of always wanting more, no matter what she has — an assessment she unabashedly agrees with. So she proposes an affair to Allan , who is married to her friend Betty . They spend a few months setting the boundaries of their affair, and several more actually having it.
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