Podcast Summary: Netflix’s ‘The Beast in Me’ Review
Podcast: The Prestige TV Podcast, The Ringer
Hosts: Joanna Robinson & Rob Mahoney
Date: November 19, 2025
Episode Focus: In-depth review and analysis of the eight-episode Netflix limited series, The Beast in Me, starring Claire Danes and Matthew Rhys.
Main Theme & Purpose
Joanna and Rob dive deep into Netflix’s binge-worthy mystery thriller The Beast in Me. They discuss its appeal within the “women’s fiction” murder-mystery genre, analyze performances (especially by Claire Danes and Matthew Rhys), dissect the show’s construction and pacing, and place it within the broader TV and film landscape of twisty, character-driven crime dramas.
Top-Line Recommendation (00:37–02:51)
- The Beast in Me is highly recommended for fans of murder mysteries, especially those who appreciate strong lead performances and well-constructed, propulsive storytelling.
- Both hosts praise the writing, pacing, and visual rhythm.
- The series feels reminiscent of “airport bestseller” novels and prestige thrillers like Big Little Lies and The Staircase, but executed at a superior level.
Quote:
“You’re getting a show that doesn’t look like a generically built Netflix show, but actually has some thought into the way that it’s constructed... there's a good visual rhythm to this show that makes it incredibly propulsive.” – Rob Mahoney (02:10)
Notable Cast & Creative Team (02:51–04:44)
- Leads: Claire Danes as Aggie (a writer); Matthew Rhys as Niall Jarvis (a wealthy, notorious real estate mogul with a possibly murderous past).
- Created by: Gabe Roer (novelist, TV writer; formerly on The X-Files).
- Showrunner: Howard Gordon (Homeland, 24).
- Director: Antonio Campos (episodes 1–2, 7–8; also directed The Staircase).
Binge-ability & Spoiler Warning (04:44–05:17)
- Warn that major spoilers are ahead.
- The show is described as “binge-friendly,” with addictive episode hooks and broad appeal.
Deep Dive: Performances and Character Dynamics
Matthew Rhys as Niall Jarvis (06:13–13:53)
- Praised for nuanced, high-difficulty performance: unapologetic, charismatic, “Trumpian” asshole, with layers of complexity making him both repulsive and strangely magnetic.
- Aggie is both drawn to and repulsed by him, which becomes the engine for the narrative.
Quote:
“The speed with which this show gets you to hate this guy is overwhelming. And then it just starts peeling it back with, like, a little bit of intrigue or a little bit of truth... all of a sudden you are eating out of the palm of this guy's hand, even if it’s covered in rotisserie chicken juice.” – Rob Mahoney (08:12)
- His character “wants someone smart enough to see him for who he is — and to admire him anyway.”
Quote:
“He wants that. He wants someone smart enough to see him for who he is. And to admire him anyway is something that it seems like he wants from Aggie, and… he ultimately kind of succeeds.” – Joanna Robinson (13:09)
Did He Do It? (11:23–13:53)
- The structure keeps viewers guessing about Niall’s guilt—did he really commit the murders? Ultimately, yes, but the show artfully balances ambiguity.
- Supporting cast (Jonathan Banks as Niall’s father, Tim Guinee as Uncle Rick) serve as clever red herrings.
The Aggie-Niall Dynamic & Sexuality (13:53–16:24)
- Sexual tension is subverted: Aggie is canonically gay (ex-wife played by Natalie Morales), and while there’s mutual fascination and seduction, the show resists turning it sexual, instead focusing on psychological intrigue.
Quote:
“It’s not sexual, it’s something else... they are wanting and needing something. And is Aggie as vulnerable to the sort of bloodlust that she has hinted at?” – Rob Mahoney (15:17)
- Their connection centers on shared trauma and intellectual sparring, not romance.
Structure, Pacing, and the Art of Suspense (20:00–25:14)
- Some criticism for episode 7’s flashbacks, which felt like unnecessary exposition.
- The show excels at keeping the viewer in that “tightrope space” between trusting and doubting characters, invoking comparisons to Hitchcock, Park Chan-wook, and modern thrillers like Gone Girl and Knives Out.
- The efficacy of drawing out ambiguity over eight episodes vs. a film’s runtime is debated.
Writing About Writers: Aggie’s Struggles (34:04–36:57)
- The depiction of Aggie’s writer’s block and deadline anxiety resonates with the hosts, particularly the scenes involving her literary agent (Deirdre O’Connell).
- Meta-commentary on the ordeals and creative frustrations of being a writer.
Quote:
“That anxiety that pulled out of me of like I'm so past my due date and I have nothing and I have to tell someone that I already told I had something that actually I have nothing… I hate it. And it was very effective.” – Joanna Robinson (36:18)
Visual & Atmospheric Detail (28:52–30:41)
- The haunted, sewage-reeking house is a metaphor for Aggie’s psychological captivity and grief.
- The set design and “grossness” add texture and symbolic resonance.
Supporting Cast Highlights
- Natalie Morales as Shelley (Aggie’s ex): Their heartbreaking scene together stands out for emotional honesty (31:53).
- Britney Snow as Nina (Niall’s wife): Both villainous and sympathetic; her ambiguous relationship with Aggie and her ultimate role in the climax are called out as highlights (49:03–51:10).
Notable Quotes & Moments
-
On casting and charisma:
“There are certain people who can just get away with stuff… the way you create that sort of character is by having that kind of charisma, this like undeniable quality that you can't fake.” – Rob Mahoney (25:52)
-
On ambiguity in storytelling:
“It’s not making the audience feel either too smart or too dumb... you want them to turn their brain off and be along for the ride.” – Rob Mahoney (24:49)
-
On Claire Danes:
“Claire Danes is great in this. Guess what? Surprise. Claire Danes is great in something. She's great in this. Absolutely iconic.” – Joanna Robinson (30:42)
“We’re Not So Different, You and I” Trope (51:15–56:23)
- Discussed in relation to Aggie & Niall’s dynamic and its presence in pop culture: Heat, The Devil Wears Prada, Skyfall, Dexter, Buffy, superhero media, and more.
- The show literalizes and modernizes the trope, using Aggie and Niall’s mutual recognition of darkness as narrative fuel.
Best On-screen Criers Segment (43:34–48:54)
- In honor of Claire Danes’ notorious “chin wobble,” the hosts engage in a rapid-fire crier draft covering her, Florence Pugh, Leo DiCaprio, Andrew Garfield, Viola Davis, and others.
- Highlights the emotional resonance Danes brings, not just in this series but throughout her career.
Quote:
“She’s a generational talent in this, in this particular way, especially—great across the board. But no one has ever done it like she has.” – Rob Mahoney (44:01)
Criticism & Quibbles
- Uneven FBI subplots: Some secondary arcs (such as Hettienne Park’s character) dilute the focus.
- Redundant flashback Episode (Ep. 7): Feel it slows the narrative unnecessarily (20:00–20:54).
- Over-explaining for “second screening” audience: A Netflix trend, but they wonder if ambiguity would have served the story better.
Symbolism & Final Metaphors
- Themes of legacy (buildings, children, reputation) literalized through plot devices (e.g., building conceived to hide a body).
- The titular “beast” is partly in Niall, partly in everyone—especially those wrestling with grief and vengeance.
Quote:
“The beast is in us, it turns out.” – Rob Mahoney (62:38)
Memorable, Humorous Asides
- The “pigeon sketching” debate (59:22–62:18): Is it worth sketching a pigeon in a birder’s diary? Spirals into a meditation on beauty in the mundane and pigeon politics.
- References to Bill Simmons as “the bat signal” for shows of this genre.
- Recurring gags about Claire Danes’ signature acting style.
Timestamps for Key Segments
- 00:37–02:51 – Top-line review and recommendation
- 06:13–13:53 – Matthew Rhys/Niall character and dynamic with Aggie
- 13:53–16:24 – Sexual tension & psychological games
- 20:00–20:54 – Flashback episode critique
- 24:49–25:14 – On the difficulty of keeping viewers in suspense
- 28:52–30:41 – Symbolic house and set design
- 31:53–33:06 – Aggie/Shelley (Claire Danes/Natalie Morales) confrontation
- 34:04–36:57 – Writer’s block as anxiety
- 43:34–48:54 – Best on-screen criers segment
- 51:15–56:23 – “We’re not so different” trope breakdown
- 59:22–62:18 – Pigeon sketching, beauty in banality, “the beast is in us”
Closing Thoughts
- The Beast in Me stands above the year’s crowd of domestic suspense shows as a perfectly cast, stylish, sharply written, and psychologically rich binge that balances ambiguity and revelation.
- Both hosts were gripped by Danes and Rhys's performances and the show’s commitment to keeping the viewer both invested and off-balance until the end.
Notable Contact
- Listener feedback/suggestions: prestigetvp@spotify.com
End of summary.