{"id":532403,"date":"2022-12-29T19:40:00","date_gmt":"2022-12-29T16:40:00","guid":{"rendered":"https:\/\/en.buradabiliyorum.com\/the-ending-explained-the-hollywood-reporter\/"},"modified":"2022-12-29T19:40:00","modified_gmt":"2022-12-29T16:40:00","slug":"the-ending-explained-the-hollywood-reporter","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/the-ending-explained-the-hollywood-reporter\/","title":{"rendered":"#The Ending, Explained \u2013 The Hollywood Reporter"},"content":{"rendered":"<div id=\"ez-toc-container\" class=\"ez-toc-v2_0_84 counter-hierarchy ez-toc-counter ez-toc-custom ez-toc-container-direction\">\n<p class=\"ez-toc-title\" style=\"cursor:inherit\">Table of Contents<\/p>\n<label for=\"ez-toc-cssicon-toggle-item-6a27392f8f4f2\" class=\"ez-toc-cssicon-toggle-label\"><span class=\"\"><span class=\"eztoc-hide\" style=\"display:none;\">Toggle<\/span><span class=\"ez-toc-icon-toggle-span\"><svg style=\"fill: #dd3333;color:#dd3333\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"list-377408\" width=\"20px\" height=\"20px\" viewBox=\"0 0 24 24\" fill=\"none\"><path d=\"M6 6H4v2h2V6zm14 0H8v2h12V6zM4 11h2v2H4v-2zm16 0H8v2h12v-2zM4 16h2v2H4v-2zm16 0H8v2h12v-2z\" fill=\"currentColor\"><\/path><\/svg><svg style=\"fill: #dd3333;color:#dd3333\" class=\"arrow-unsorted-368013\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"10px\" height=\"10px\" viewBox=\"0 0 24 24\" version=\"1.2\" baseProfile=\"tiny\"><path d=\"M18.2 9.3l-6.2-6.3-6.2 6.3c-.2.2-.3.4-.3.7s.1.5.3.7c.2.2.4.3.7.3h11c.3 0 .5-.1.7-.3.2-.2.3-.5.3-.7s-.1-.5-.3-.7zM5.8 14.7l6.2 6.3 6.2-6.3c.2-.2.3-.5.3-.7s-.1-.5-.3-.7c-.2-.2-.4-.3-.7-.3h-11c-.3 0-.5.1-.7.3-.2.2-.3.5-.3.7s.1.5.3.7z\"\/><\/svg><\/span><\/span><\/label><input type=\"checkbox\"  id=\"ez-toc-cssicon-toggle-item-6a27392f8f4f2\" checked aria-label=\"Toggle\" \/><nav><ul class='ez-toc-list ez-toc-list-level-1 ' ><li class='ez-toc-page-1 ez-toc-heading-level-1'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/buradabiliyorum.com\/en\/the-ending-explained-the-hollywood-reporter\/#The_Ending_Explained_%E2%80%93_The_Hollywood_Reporter\" >The Ending, Explained \u2013 The Hollywood Reporter<\/a><\/li><\/ul><\/nav><\/div>\n<h1><span class=\"ez-toc-section\" id=\"The_Ending_Explained_%E2%80%93_The_Hollywood_Reporter\"><\/span>The Ending, Explained \u2013 The Hollywood Reporter<span class=\"ez-toc-section-end\"><\/span><\/h1>\n<div>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>[This story contains major spoilers to the finale of FX on Hulu\u2019s\u00a0<em>Fleishman Is in Trouble<\/em>, \u201cThe Liver,\u201d which released 12:01 a.m. ET on Dec. 29.]<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <em>Fleishman Is in Trouble<\/em> <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/download-scripts-themes-apps\/\" data-internallinksmanager029f6b8e52c=\"9\" title=\"Download Scripts &amp; Themes &amp; Apps\" target=\"_blank\" rel=\"noopener\">app<\/a>ears to be a story about a divorce.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    But it ends up being about\u2026 everything. Or, as the show\u2019s narrator and star Lizzy Caplan puts it, \u201cIt\u2019s about the whole fucking world.\u201d<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    Creator Taffy Brodesser-Akner adds, \u201cIt\u2019s a story about middle age and marriage and divorce, and getting older and nostalgia and lifelong friendship, and parenting and career and ambition. There\u2019s no category of middle-class, middle-life that it isn\u2019t about. But ultimately, <em>Fleishman<\/em> is a story about storytelling.\u201d<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    After six episodes of telling <em>Fleishman Is in Trouble<\/em> from mainly the perspective of divorced dad Toby Fleishman (played by Jesse Eisenberg), the FX on Hulu <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/watch-movies-tv-seriess\/\" data-internallinksmanager029f6b8e52c=\"8\" title=\"Watch Movies &amp; TV Series\" target=\"_blank\" rel=\"noopener\">series<\/a> shifted its POV to that of his ex-wife Rachel Fleishman (played by Claire Danes) and effectively pulled off the same trick the show\u2019s creator Taffy Brodesser-Akner accomplished with her 2019 best-selling debut novel of the same name. <\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    That penultimate episode, \u201cMe Time\u201d \u2014 an acting <em>tour de force<\/em> for Danes \u2014 filled in the blanks about Rachel and the Fleishmans, and shattered viewers\u2019 assumptions up until that point. Most effectively, it teed up the show\u2019s finale reveal that the true star of this story is actually Libby (Caplan), Toby\u2019s friend and <em>Fleishman<\/em> narrator who would go on to write the book on which the series is based. All of this comes together in a meta ending in \u201cThe Liver\u201d that, similar to the book, is sure to bring about conversations and debates about what the <em>Fleishman<\/em> audience is meant to take away from the ending.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <em>The Hollywood Reporter<\/em> spoke with Brodesser-Akner and Caplan (who is playing the character most based on Brodesser-Akner) together on Zoom for a chat that both opened and closed with the collaborators expressing their love for one another. Below, the showrunner\/writer and her star shed light on the process to adapt this story for TV \u2014 including the ideas and scenes that didn\u2019t make the final cut, and if there could be a second season \u2014 and share their insightful takes on the \u201cunanswerable questions\u201d posed by the ending.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Taffy, you\u2019ve spoken about how your job as a magazine profile writer made you realize that people sympathize with stories about men, which led to you write about Toby Fleishman and subvert this story. What was the experience that prompted you to actually sit down and write the book <em>Fleishman Is in Trouble<\/em>?<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Taffy Brodesser-Akner: <\/strong>When I turned 40, a lot of people started coming to me and telling me they were getting divorced. They would show me their phones and I thought it was wild the way people were dating now. When I was dating, so much involved you showing up as a person. And the utter efficiency of being able to date while you\u2019re watching TV? Just, all of it was so appealing to me. After I spoke to like my fifth person, I called up my <em>GQ<\/em> editor and said, \u201cWe have to do this story on how people are dating.\u201d It was 2017 and he said to me, \u201cYou don\u2019t often sound like a \u2018housewife in the suburbs\u2019 the way you call yourself one, but right now, you sound like a housewife in the suburbs.\u201d So I got off the phone and almost called my other editor at <em>New York Times Magazine<\/em>, but I stopped. I knew what the <em>New York Times <\/em>version of this would look like: Following a guy around for a year who, nine months in, will say, \u201cOh but my kids, I can\u2019t participate in this,\u201d and then I\u2019ll have to figure something out. And also, it would just be sad. So, I pulled over into the Le Pain Quotidien near Union Square and I wrote 30 pages in a sitting. <\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>And Toby Fleishman was born.<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Brodesser-Akner:<\/strong> And that was that. Toby was born.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>People who have read the book know the role Libby plays in this story. But with the show, you could have new viewers coming in or people who might expect some of the story to change. How did that impact your approach to the series and anything you wanted to do differently?<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Brodesser-Akner:<\/strong> Can I answer that first? Because [Lizzy], you\u2019re not going to give the right answer because it would be too much bragging. We had a cast that just understood the project, and was secure enough in their places in the world. You take Lizzy, who seems like this narrator side character \u2014 too small of a role for marquee Lizzy Caplan \u2014 but who knew that, in the end, emerges as the main character. You take Claire Danes, who is not on <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/social-mediaa\/\" data-internallinksmanager029f6b8e52c=\"1\" title=\"Social Media\" target=\"_blank\" rel=\"noopener\">Twitter<\/a>, but has to endure six weeks of people saying, \u201cBoy did they misuse Claire Danes.\u201d Or, \u201cThere should be more Claire Danes in this.\u201d <\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    Everyone knew what the project was and my biggest fear when there were actresses who wanted to attach themselves to this show was that once someone is attached early on in the selling process, they make their role bigger. These roles are huge, they just emerge at the end. Or, they sneak up on you. And [if we had made a role larger], that is to not understand the nature of the book; it would change the whole thing completely. I was very lucky that Lizzy, especially, was able to kind of bide her time in scenes where she didn\u2019t talk that much. The misuse of Lizzy Caplan in the inevitability of the big Lizzy Caplan [reveal]. Lizzy, would you like to talk now?<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Lizzy Caplan: <\/strong>(<em>Laughs<\/em>) In the actual shooting, I definitely asked Taffy a few times like, \u201cIf I\u2019m Libby \u2014 and we know Libby has thoughts and opinions about pretty much everything; she\u2019s talking this entire time \u2014 why would I be sitting in a diner with my two close friends [Toby (Jesse Eisenberg) and Seth (Adam Brody)]  and not weigh in on <em>this<\/em> or <em>this<\/em> or <em>this<\/em>? Why am I letting them talk? It\u2019s gonna feel weird, right?\u201d And Taffy was like, \u201cNo, it won\u2019t. Don\u2019t forget that we do hear you talking the entire time and just, hold tight.\u201d<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    I didn\u2019t push really beyond that. I had a lot of faith in the process. And one thing I\u2019ll say about all the actors is that everybody was tasked with holding back or receding. Every single one of them. I think actually the real unsung hero of the whole thing is Jesse, who does so much of the heavy lifting and then fully recedes by the end when we see what the story truly is. And there are very few actors that I think have the fortitude of ego, or whatever would be required to do that. He ends with whatever the opposite of a hero\u2019s farewell would be. And it\u2019s just a testament to him. Same with Claire. To be able to have faith, that if everybody just holds tight. <\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    I had the same thing. I\u2019m the most annoying person in the world when this show started coming out and people were talking about it. I was getting all these texts from my friends who were watching in real time \u2014 which, I can\u2019t even remember? That\u2019s so rare. As an actress in this business, I am 100 percent in favor of the week-to-week release. I miss it. I think it\u2019s great. On a selfish level, I hate working so hard on something and having it disappear after a weekend because people either binge it or don\u2019t, and it\u2019s over. I like extending it and I like the conversations that it causes for a viewer. But for <em>Fleishman<\/em>, I just kept saying, \u201cYou\u2019ve got to watch the whole thing. Just promise me you\u2019re going to watch all eight.\u201d For this show, bingeing would work and it would be a really fulfilling experience, so I was sort of of two minds on it. <\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    But back to this notion of passing the baton; each character does pass the baton to the next character, and sometimes we pass it back. You pass the spotlight in such a way. It\u2019s a waste of time to say they were selfless and not looking out for their own storyline, or for the big storyline the whole time, because it\u2019s just so beneath all of them that I\u2019m pretty sure that never even crossed anybody\u2019s mind. We were just nervous of this one story.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Brodesser-Akner:<\/strong> That is absolutely true. I want to agree on that Jesse thing, because Jesse does not interact with the world. He will call me and talk to me and if I say how it\u2019s going, he\u2019s interested. And he has felt this to be a big thing. He walks down the street in either New York or Indianapolis where he lives and people say something to him about it, and he has said that has not happened to him. I am interacting on a micro-level on all of this because I have not accepted that in this case as a non-journalist I should recede into the world.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Caplan:<\/strong> You are also dealing with actors who are not on social media, so you have to do it all for us!<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Brodesser-Akner:<\/strong> Right! I have to report back and tell everyone how it\u2019s going. But the thing that that affords Jesse is to really participate in a performance and to have no vanity about it. He did not say, \u201cI\u2019m worried people will hate this guy. I\u2019m worried people won\u2019t find him cuddly.\u201d He just went into a corner and came out a way fuller person than I created. They all did. That was remarkable to me. When I was interviewing actors for my [journalism] career, I wish I had ever thought of to ask them about acting (<em>laughs<\/em>). Because I never truly understood. People would say, \u201cOh, these scripts are so full\u201d \u2014 they weren\u2019t; for an actor, they\u2019re outlines. Because they have to show up as these real, full people. And they have to make a million decisions that I didn\u2019t make. I watched this show and I love the people they made.<\/p>\n<div class=\"post-content-image \/\/  \">\n<figure class=\"o-figure   size-large alignnone lrv-u-max-width-100p\" style=\"width:100%; max-width:1000px;\">\n<div class=\"c-lazy-image  \">\n<div class=\"lrv-a-crop-16x9\" style=\"padding-bottom:calc((667\/1000)*100%);\">\n<p>                        <img loading=\"lazy\" decoding=\"async\" class=\"c-lazy-image__img lrv-u-background-color-grey-lightest lrv-u-width-100p lrv-u-display-block lrv-u-height-auto\" src=\"https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2022\/12\/FIIT_105-3984R.jpg?w=1000\" alt=\"Fleishman Is In Trouble cast with creator Taffy Brodesser-Akner\" srcset=\"\" data-lazy-sizes=\"(min-width: 87.5rem) 1000px, (min-width: 78.75rem) 681px, (min-width: 48rem) 450px, (max-width: 48rem) 250px\" height=\"667\" width=\"1000\" decoding=\"\"\/><\/div>\n<\/p><\/div><figcaption class=\"c-figcaption  lrv-u-padding-tb-025\"><span class=\"a-font-secondary-s lrv-u-margin-r-025\">Taffy Brodesser-Akner (second from left) with (left to right) executive producer Sarah Timberman, stars Lizzy Caplan (Libby), Jesse Eisenberg (Toby) and Adam Brody (Seth).<\/span><\/p>\n<p>                                    <cite class=\"a-font-accent-uppercase-xs lrv-u-color-grey-dark\">Linda Kallerus\/FX<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>When it all starts to come together in episode seven, \u201cMe Time,\u201d you start to see how similar Libby and Rachel feel, even though they\u2019re such different people. They were unseen and unheard, and it gets more unmanageable for one than the other. Was there debate about where you should place Rachel\u2019s story and deliver this Rachel-Libby shift in the story; how did you decide on the second-to-last episode?<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Brodesser-Akner:<\/strong>  I\u2019ll tell you two things. Number one, there was no debate, but everybody involved knew there was a risk. But the thing that people liked about this story was the experience of it, and the risk was the risk we saw, which was a few weeks of people saying, \u201cI really like this, but it feels weird to be watching something that feels a little retro.\u201d [<em>Note: The series is set in 2016, the year Brodesser-Akner wrote the novel.<\/em>] We all knew this was a weird thing, and also we all knew that the only good things are original things, and that to mess with the form is kind of the next iteration of television, maybe. To mess with the form at this level. That\u2019s my answer. Did you feel like it was a risk, Lizzy?<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Caplan: <\/strong>No. Especially because when we shot it, we did block shooting.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Brodesser-Akner:<\/strong> Nobody knew what was going on!<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Caplan:<\/strong> But I think in order to guarantee that the audience was complicit, we needed to give it a lot of time. We needed to make sure the audience felt a certain way about Rachel so that in order to flip it, it was really going to be holding up a mirror. And I don\u2019t know if it would have been as effective if that turn came earlier.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    But I didn\u2019t question it because in the actual shooting of it, all I knew was that the dialogue that I was tasked with saying \u2014 and I think I can speak for the rest of the cast \u2014 was just exceptional and powerful. And I felt very lucky to be saying it, and I probably read the scripts more than anyone else because I had to do the scratch voiceover tracks. But only in watching the finished episodes \u2014 and I just texted you this Taffy, for episode six \u2014 I am in awe of how meticulously crafted the whole thing actually is. It was all there on the page, but [I\u2019m amazined] seeing the finished version, especially in episode six. That\u2019s right at the moment the audience is getting a little tired of Toby\u2019s bullshit, and his complaining and his whining. Then Libby is also kind of annoying in the beginning of her part of that episode. So you have Toby who is annoying, and Libby, a bit annoying. And then Libby becomes annoyed with Toby at the exact moment that the audience is doing the same thing.  <\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    Then the audience is in-step with Libby and how Libby is seeing Toby, because it\u2019s after their argument. So everybody is on Libby\u2019s side now, or they have the same perspective as Libby. We go on a whole journey with Libby in that episode. And then just when you think maybe she\u2019s going to start talking about all the people in New York walking by in the park \u2014 boom! There\u2019s Rachel. And then the next episode is like boom boom, boom, boom, pyrotechnics Claire! And all of it is positioned perfectly. I don\u2019t know how a first-time showrunner does that. That\u2019s absolute alchemy magic.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>That\u2019s a question for you, Taffy. How did you accomplish that?<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Brodesser-Akner:<\/strong> First of all, there\u2019s no reason to adapt something unless you\u2019re loyal to the thing. But the real answer is that I had two very smart and experienced producing partners, Sarah Timberman and Susannah Grant \u2014 Lizzy worked with Sara on <em>Masters of Sex<\/em> and they\u2019re both just legends of the industry. There was a time where what I knew was that we couldn\u2019t make this into a movie, because you need a certain amount of time to settle into it, and I mean <em>really<\/em> settle in. I mean like, there is no version of it where this could possibly be anything else. That\u2019s the only way to possibly pull the rug out from people. <\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    But I wanted one additional episode. One additional episode before we find out that Rachel was napping in the park. I wanted \u2014 and, I\u2019m not kidding \u2014 between episodes six and seven to be just the <em>Presidentrix<\/em> musical, without any context. Which by the way, would have given you every clue. And my very smart producing partners and the network said, \u201cLet\u2019s just do the story.\u201d<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Caplan: <\/strong>And maybe not write an entire musical as well.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Brodesser-Akner:<\/strong> Exactly (<em>laughs<\/em>). But then this crazy thing happened. We had to do these table readings that would stop the set, because there were 40 people from the studio and network waiting for us, and so everyone got on Zoom, sometimes in their homes if they weren\u2019t shooting that day, sometimes in their dressing room. And they were so much fun. I had a weird time processing them: \u201cOh my God, is this really happening to me?\u201d <\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    The seventh episode was supposed to be not the penultimate episode, but the third to last. And Claire Danes was home [and calling in for the table read]. She lost internet a couple of times; we lost internet a couple of times \u2014 it should have been a disaster. But at that Zoom table read, we left and I said, \u201cWe can\u2019t ask an audience to stick around for two episode after that.\u201d (<em>Laughs<\/em>). <\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    We had it scheduled that \u201cMe Time\u201d would be the sixth episode and then there would be seven and eight, and it would be dispersed differently. But her performance and just the bigness of that episode as its own discreet thing made it feel like the best thing we could do was to then land it. To take that information and then use it for the characters to land it. And, they did. As you know, the finale is like five movies in different parts. And these actors pulled it off in the most miraculous way. Even I, who could have gone on forever, feel that everybody\u2019s moment is where their story is appropriate to end.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    After that, I kind of couldn\u2019t say goodbye to Claire. So I wrote a couple of scenes for her into the eighth episode. She asked to talk to me and she said, \u201cDon\u2019t do this. This isn\u2019t in the book. You\u2019re just doing this because you\u2019re attached to me, and I\u2019m attached to you. But, it\u2019s OK.\u201d Everyone knew in a way that I didn\u2019t that we were not saying goodbye to each other. So, that\u2019s what I want to say about the format. And no one knows those things.<\/p>\n<div class=\"post-content-image \/\/  \">\n<figure class=\"o-figure   size-large alignnone lrv-u-max-width-100p\" style=\"width:100%; max-width:1296px;\">\n<div class=\"c-lazy-image  \">\n<div class=\"lrv-a-crop-16x9\" style=\"padding-bottom:calc((730\/1296)*100%);\">\n<p>                        <img loading=\"lazy\" decoding=\"async\" class=\"c-lazy-image__img lrv-u-background-color-grey-lightest lrv-u-width-100p lrv-u-display-block lrv-u-height-auto\" src=\"https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2022\/12\/FIIT_107-102r.jpg?w=1296\" alt=\"FLEISHMAN IS IN TROUBLE\" srcset=\"https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2022\/12\/FIIT_107-102r.jpg 1296w, https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2022\/12\/FIIT_107-102r.jpg?resize=125,70 125w, https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2022\/12\/FIIT_107-102r.jpg?resize=681,383 681w, https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2022\/12\/FIIT_107-102r.jpg?resize=450,253 450w\" data-lazy-sizes=\"(min-width: 87.5rem) 1000px, (min-width: 78.75rem) 681px, (min-width: 48rem) 450px, (max-width: 48rem) 250px\" height=\"730\" width=\"1296\" decoding=\"\"\/><\/div>\n<\/p><\/div><figcaption class=\"c-figcaption  lrv-u-padding-tb-025\"><span class=\"a-font-secondary-s lrv-u-margin-r-025\">Claire Danes as Rachel Fleishman in \u201cMe Time,\u201d written by\u00a0Brodesser-Akner, and directed by Valerie Faris and Jonathan Dayton.<\/span><\/p>\n<p>                                    <cite class=\"a-font-accent-uppercase-xs lrv-u-color-grey-dark\">Linda Kallerus\/FX<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Let\u2019s talk about the ending. The show ends like the book, with Rachel coming back. But when I was watching the final scene, I had a <em>Black Mirror <\/em>moment.  Libby has just revealed herself as an unreliable narrator, because she\u2019s infused her own story into Toby and Rachel\u2019s \u2014 and then she and Toby have this meta scene where she says she\u2019s going to write a book and tell this story. Could the Rachel and Toby ending be invented by Libby, to give this story a good ending? I wondered if Libby was talking about herself because when Libby goes back to her husband (Josh Radnor), he says that she always comes back. <\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Brodesser-Akner:<\/strong> Lizzy, do you want to go first?<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Caplan:<\/strong> Sure. The whole, \u201cIs it real? Does Rachel really come back?\u201d conversation. And, \u201cIf she does come back, do they reconcile?\u201d Personally, I don\u2019t care. And I\u2019m pretty sure if I was just a viewer of the show, I also wouldn\u2019t care. I\u2019m very invested in these characters \u2014 it\u2019s not a knock on the characters\u2019 arc at all. It\u2019s just, that\u2019s not what it\u2019s about to me. I see a fully realized version of both. Any version that happens with the two of them going forward would make sense to me and would be worth exploring. And I think we could do a good version of them getting back together; of them never getting back together. To me, the show is about bigger ideas than that. <\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    But I also think how the ending of the show hopefully will work for people is that trying to figure out what does happen is going to be a very interesting question, and people will explore what they think happened. It will work 100 percent on that level. But just for me, it\u2019s so beyond that answer. I remember when I was reading about the book that a lot of readers of the book have that question. \u201cDo they get back together? What happens? <em>What happens<\/em>?\u201d And I was thinking, \u201cGuys, don\u2019t you see what this is about? It\u2019s about like, the whole fucking world!\u201d<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Brodesser-Akner:<\/strong> (<em>Laughs<\/em>). I\u2019ll answer. When people debate this or wonder about it, it\u2019s very romantic and hopeful. That\u2019s why people do it. Because they need to know. I <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/general\/\" data-internallinksmanager029f6b8e52c=\"3\" title=\"General\" target=\"_blank\" rel=\"noopener\">general<\/a>ly don\u2019t answer this question, because I feel that it\u2019s all there. But the thing that I\u2019ll add now that we\u2019re talking post-finale and post-book is that this was always a story about the whole world, as Lizzy says. It was a story about middle age and marriage and divorce, and getting older and nostalgia and lifelong friendship, and parenting and career and ambition. There\u2019s no category of middle-class, middle-life that it isn\u2019t about. But ultimately, <em>Fleishman<\/em> is a story about storytelling. And so the answer to that question is that it will be up to everybody to decide how <em>Fleishman<\/em> ends. I\u2019m interested in that conversation. <\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    Historically, when people ask me to speak at their book club\u2026<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Caplan: <\/strong>You can do that?<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Brodesser-Akner:<\/strong>  People asked me all the time but I\u2019ve stopped doing it, because I realized my answers only disappointed or annoyed them. Reading a book is like eating. You can eat across from someone, but ultimately you\u2019re eating alone. And, you\u2019re reading alone. And this book that you bought is no longer mine; it\u2019s yours. I\u2019ve been surprised at how people don\u2019t want what my answer is. They want to attain their answer. And they want to be able to ask the question. So out of kindness, I\u2019m not answering it.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Caplan:<\/strong> I also think that, by the way, if people really like the show, I do recommend watching it again. Because God, we really told everybody everything from the beginning.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Brodesser-Akner:<\/strong> I\u2019m not a subtle writer!<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Caplan:<\/strong> It\u2019s all there. But you don\u2019t see it until the exact moment you\u2019re supposed to see it. <\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    [<em>Editor\u2019s note: At this moment, Brodesser-Akner puts on the googly-eyed glasses used as a prop in the series; a prop that shows up in both Rachel\/Toby\u2019s and Libby\/Adam\u2019s flashbacks.<\/em>]<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>When Libby had the glasses on in the finale montage, that\u2019s a moment where you go, \u201cWait, wasn\u2019t Rachel wearing those in an earlier flashback\u201d?<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Caplan:<\/strong> If people really do adamantly ask the question about if they get back together or not, I don\u2019t see how you see it as a happy ending. So, ok, they get back together and then, it\u2019s just going to be more of them trudging through this stuff together. That\u2019s the whole point. There is no happy ending (<em>laughs<\/em>).<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Brodesser-Akner:<\/strong> It\u2019s a great question. Again, it\u2019s a story about storytelling. And that to me was how you ended a story about storytelling \u2014 with some storytelling. Or, the vast future of it. But, you\u2019re right. Watch it again and you\u2019ll probably see more. By the time I wrote the eighth episode, I understood that there had to be more in the show than there was in the book, because that was my education in adaptation. You go in hoping the actors will do things as well as you saw it in your head, and you have to leave room for them doing it better than you could have imagined. And you have to let that happen, or else you\u2019ll miss it. You also have to rise to the occasion of the actors, the production designer, the costume designer, the set decorators, and everyone else who built this city from this thing you wrote. You have to help push it over the finish line with an understanding. <\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    At first, when people watched this, they said what a loyal adaptation it was. I think the loyal adaptation was that I learned how to adapt, and what a show needs that a book cannot give you. And it\u2019s those things that don\u2019t exist in the book that are breadcrumbs or Easter eggs that were a delight to me that only came after I wrote the eighth episode. We were still shooting the fifth episode when I wrote the eighth, so there was plenty of time to go back and plant things. And we had incredible directors \u2014 Jonathan Dayton and Valerie Faris, Alice Wu and Shari Springer Berman and Robert Puccini \u2014 who took these episodes and made a visual language, along with the score by Caroline Shaw. It\u2019s so not like any score I\u2019ve ever heard. Now I see that the things they created, that I have nothing to do with, are as part of <em>Fleishman<\/em> as Lizzy\u2019s voice, that apartment, Jesse\u2019s ticks, Claire\u2019s chill \u2014 and by \u201cchill\u201d I mean her <em>brr<\/em> \u2014 and Adam Brody, how could we neglect to talk about what a revelation he is in this? He took a character that could have so easily been played as a clich\u00e9 and was made into a real person. And Josh Radnor, who showed up for a role that I think of as huge, but that an actor has to have an imagination to see it\u2019s importance and also wait to the end. <\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    Everyone here, including me, had to wait for everybody to see the whole of it. And, we text each together. There were little clues this might take off, and then I feel like after the sixth aired, that\u2019s when the hum I was hearing started to feel like a roar. And then [after episode seven], of course, I cried myself to sleep and asked my husband to look into trauma therapy for me. (<em>Laughs<\/em>.) People would come to me and [ask if I was OK] and I would say, \u201cI\u2019m fine.\u201d Because <em>Fleishman<\/em> is like the movie <em>The Ring<\/em>. Where you watch this video and unless you pass it onto someone, you die in seven days? That\u2019s what I think about <em>Fleishman<\/em>. I think, \u201cI already passed it on, I\u2019m not going to die from this.\u201d And also, seeing how everyone relates to it was really nice.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Caplan:<\/strong> I think it\u2019s important to note that this is what a Jewish person gives people for Christmas: trauma therapy.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Brodesser-Akner:<\/strong> It\u2019s really the most thoughtful gift! <\/p>\n<div class=\"post-content-image \/\/  \">\n<figure class=\"o-figure   size-large alignnone lrv-u-max-width-100p\" style=\"width:100%; max-width:1296px;\">\n<div class=\"c-lazy-image  \">\n<div class=\"lrv-a-crop-16x9\" style=\"padding-bottom:calc((730\/1296)*100%);\">\n<p>                        <img loading=\"lazy\" decoding=\"async\" class=\"c-lazy-image__img lrv-u-background-color-grey-lightest lrv-u-width-100p lrv-u-display-block lrv-u-height-auto\" src=\"https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2022\/12\/FIIT_108-2024r.jpg?w=1296\" alt=\"FLEISHMAN IS IN TROUBLE\" srcset=\"https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2022\/12\/FIIT_108-2024r.jpg 1296w, https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2022\/12\/FIIT_108-2024r.jpg?resize=125,70 125w, https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2022\/12\/FIIT_108-2024r.jpg?resize=681,383 681w, https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2022\/12\/FIIT_108-2024r.jpg?resize=450,253 450w\" data-lazy-sizes=\"(min-width: 87.5rem) 1000px, (min-width: 78.75rem) 681px, (min-width: 48rem) 450px, (max-width: 48rem) 250px\" height=\"730\" width=\"1296\" decoding=\"\"\/><\/div>\n<\/p><\/div><figcaption class=\"c-figcaption  lrv-u-padding-tb-025\"><span class=\"a-font-secondary-s lrv-u-margin-r-025\">Toby Fleishman (Eisenberg) and Libby (Caplan) in the finale, \u201cThe Liver,\u201d written by\u00a0Brodesser-Akner; directed by Shari Springer Berman and Robert Pulcini.<\/span><\/p>\n<p>                                    <cite class=\"a-font-accent-uppercase-xs lrv-u-color-grey-dark\">Linda Kallerus\/FX<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Well Lizzy, you said it\u2019s not a happy ending for Toby and Rachel, but\u2026<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Brodesser-Akner:<\/strong> No; she says she doesn\u2019t know.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Caplan: <\/strong>I don\u2019t think there\u2019s a version of them riding off into the sunset and having no problems from here on out.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Right. But, how do you view Libby\u2019s ending? Because that felt \u2026 nice.<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Caplan: <\/strong>Yeah, it does feel nice. What Libby learns, and hopefully what the audience gets through Libby, is something we talk about a lot. There are a lot of lines in the voiceover about these unanswerable questions that aren\u2019t even worth asking because if you ask them, you\u2019ll go mad. And that\u2019s kind of it. Which sounds dark and sad. But to me, I watch the show and I go, \u201cOh wow, how sad and beautiful is it to be a person? To be alive?\u201d And it is all of these things. <\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    And I guess the other thing that I feel Libby learns is that the only way through all of this mess, through all of these questions that really have no answers, is through compassion. That\u2019s the lesson: Let\u2019s just be a bit more compassionate towards each other; think about where the other person might be coming from. Even though there are so many good things that come out of their lack of compassion. There\u2019s an article or study about how people bond through gossip and I don\u2019t know if our three friends in this \u2014 Libby, Seth and Toby \u2014 would have connected so immediately again if they didn\u2019t have this common enemy in Rachel. They needed Rachel to be a dick to re-form their bond. And there are a million examples of those types of things within this show. But ultimately lesson is: that ain\u2019t it. It\u2019s just not the way. But it\u2019s a journey to get there, boy is it. And I think it\u2019s a journey that once you arrive at it, you\u2019re going to have to learn it again a few months later.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>If people ask if Libby will stay married, would you answer?<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Caplan:<\/strong> I think Libby is going to stay married, yes.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Brodesser-Akner:<\/strong> One of the many lessons of <em>Fleishman<\/em> is that we are very much the same when we\u2019re old as we are when we\u2019re young. And this I will say, that Libby\u2019s husband seems to love her and know her. He\u2019s not asking her to be different. He\u2019s asking to be involved in her struggle. The thing that he says at the very end \u2014 \u201cYou always come back\u201d \u2014 begs the question of, is this her pattern? Is there another version of this that happened last summer, or the summer before, or the summer before? Because there are those kinds of marriages. <\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    There\u2019s that Tolstoy quote from <em>Anna Karenina<\/em>: \u201cHappy families are all alike; every unhappy family is unhappy in its own way.\u201d I actually think all divorces are the same. Back to your first question, I wanted to tell this story because there was a pattern. All the divorces were the same; they all had the same foundation. They all had the same list of events. They all spoke about each other in the same way. And that gets a writer thinking. But I also think that their unhappiness, their separate unhappinesses, are because all marriages are different. And the reason we all struggle, and the reason we divorce probably long after the thought first occurs to us, is not because of what it will do. But it\u2019s because we have to first contend with the question of: Is this what marriage is? And, am I supposed to tolerate it for infinity? And there are different answers to that question, but it takes a long time for the question to occur to you and then to figure out the answer.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Caplan:<\/strong> It\u2019s in the show. And I\u2019ve said it to multiple friends \u2014 because I just turned 40 and a lot of people are thinking about getting divorced, and everything that made you write the book is what I\u2019m seeing now. The amount of times I\u2019ve said to them, \u201cWell, maybe you should watch <em>Fleishman Is in Trouble<\/em> before making this decision\u201d (<em>laughs<\/em>).<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Brodesser-Akner:<\/strong> Good marketing, Lizzy!<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Caplan:<\/strong> \u201cCheck out my television show first!\u201d I know, it\u2019s so absurd. <\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>It could save some therapy bills \u2014 eight hours, at least.<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Brodesser-Akner:<\/strong> And don\u2019t forget about the $13 to buy the book.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Caplan: <\/strong>Libby has the line. It\u2019s in there. Libby has the realization that if you get rid of this person, than maybe everything will be great. The actual line was, \u201cIf I just excise this person maybe I can be me again.\u201d But you can\u2019t be you again, because you can never be young again. And that\u2019s what this is all about. You cannot go back to a place of nothing but potential; that doesn\u2019t exist for you anymore, that is no longer an option. So I think if Libby came to that realization, which she did, then there would be no reason for her to leave her wonderful husband who loves her. Because she\u2019s not going to get the thing that she thinks that she wants without her husband.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Brodesser-Akner:<\/strong> Or, it\u2019s not even about her husband. He was just a comorbidity.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Caplan: <\/strong>She\u2019s not going to get the thing she wants with her husband removed. You delete the husband part, you still don\u2019t get to be 22 with nothing but fun ahead of you.<\/p>\n<div class=\"post-content-image \/\/  \">\n<figure class=\"o-figure   size-large alignnone lrv-u-max-width-100p\" style=\"width:100%; max-width:1296px;\">\n<div class=\"c-lazy-image  \">\n<div class=\"lrv-a-crop-16x9\" style=\"padding-bottom:calc((730\/1296)*100%);\">\n<p>                        <img loading=\"lazy\" decoding=\"async\" class=\"c-lazy-image__img lrv-u-background-color-grey-lightest lrv-u-width-100p lrv-u-display-block lrv-u-height-auto\" src=\"https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2022\/12\/FIIT_108-1144r.jpg?w=1296\" alt=\"FLEISHMAN IS IN TROUBLE\" srcset=\"https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2022\/12\/FIIT_108-1144r.jpg 1296w, https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2022\/12\/FIIT_108-1144r.jpg?resize=125,70 125w, https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2022\/12\/FIIT_108-1144r.jpg?resize=681,383 681w, https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2022\/12\/FIIT_108-1144r.jpg?resize=450,253 450w\" data-lazy-sizes=\"(min-width: 87.5rem) 1000px, (min-width: 78.75rem) 681px, (min-width: 48rem) 450px, (max-width: 48rem) 250px\" height=\"730\" width=\"1296\" decoding=\"\"\/><\/div>\n<\/p><\/div><figcaption class=\"c-figcaption  lrv-u-padding-tb-025\"><span class=\"a-font-secondary-s lrv-u-margin-r-025\">Libby (Caplan, right) with husband Adam (Josh Radnor) in the finale. <\/span><\/p>\n<p>                                    <cite class=\"a-font-accent-uppercase-xs lrv-u-color-grey-dark\">Linda Kallerus\/FX<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>There is a whole next stage to explore about what comes after midlife crisis for all of these characters. Do you have a season two in there?<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Brodesser-Akner:<\/strong> It\u2019s a limited series.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>That means nothing in this era of peak TV.<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Brodesser-Akner:<\/strong> I know, it means nothing! But we are superstitious Jews, and we don\u2019t talk about things like that. (<em>Laughs<\/em>.)<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Is there more story you want to tell with these people?<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Brodesser-Akner:<\/strong> This is what I\u2019ll say about these people. I know from experience now, because I\u2019ve written my second book, that the first group of people are the people closest to you. They are people that live under your skin. I have no less clich\u00e9 way of saying that. And the second book you write is just a millimeter outside of that. I would never want to ruin the ending of this, but the question to me is: If I could spend more time with the people I\u2019m closest to now, understanding that I\u2019ll probably never see them again, or I\u2019ll never be with them again except in retrospect, how could I say no to doing that? If you build people to be real, of course there\u2019s more story. <\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    Libby\u2019s husband, Adam, what was he doing while she was away? I don\u2019t know a lot of men who stay the course. We know that he\u2019s miserable being a lawyer. And Seth is being investigated by the FCC. And most of all, if there\u2019s anything we\u2019ve learned from the seventh episode it\u2019s that Rachel is a few blocks away, has two kids that she loves very much, and an ex-husband that she has to eventually probably deal with. And, Libby? What happens when she publishes her book is a great question. Because it probably didn\u2019t go as smoothly as you think, when you write about your friends. My characters are not based on direct real people, they are the amalgamations of stories I\u2019ve heard and luckily the only thing that mitigates that as a problem in my life is the amount of people I\u2019ve never met who think the book is about them, or the show is about them (<em>laughs<\/em>). <\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>I want to see Libby as the self-actualized published author having to deal with the next round of life coming her way.<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Caplan:<\/strong> Or, your real life Taffy, right? So then, you know what happens next in your actual life.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Brodesser-Akner:<\/strong> I do know what happens next in my real life! The thing I keep hearing from the actors is they\u2019re getting text messages from people they haven\u2019t heard from in a while, and that feels like a good thing. And I am, too.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Caplan:<\/strong> Listen, I\u2019m very proud of you, and I\u2019m very happy. You deserve it all. <\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <em>Interview edited for clarity.<\/em><\/p>\n<\/p><\/div>\n<p><script type=\"text\/plain\" class=\"optanon-category-C0004\">\n!function(f, b, e, v, n, t, s) {\nif (f.fbq) return;\nn = f.fbq = function() {n.callMethod ? n.callMethod.apply(n, arguments) : n.queue.push(arguments);};\nif (!f._fbq) f._fbq = n;\nn.push = n;\nn.loaded = !0;\nn.version = '2.0';\nn.queue = [];\nt = b.createElement(e);\nt.async = !0;\nt.src = v;\ns = b.getElementsByTagName(e)[0];\ns.parentNode.insertBefore(t, s);\n}(window, document, 'script', 'https:\/\/connect.facebook.net\/en_US\/fbevents.js');\nfbq('init', '352999048212581');\nfbq('track', 'PageView');\n<\/script><\/p>\n<blockquote><p><strong><span style=\"color: #ff6600;\">If you liked the article, do not forget to share it with your friends. Follow us on\u00a0<span style=\"color: #ff0000;\"><a style=\"color: #ff0000;\" href=\"https:\/\/news.google.com\/publications\/CAAqBwgKMLG0nwswvr63Aw\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Google News<\/a><\/span>\u00a0too, click on the star and choose us from your favorites.<\/span><\/strong><\/p><\/blockquote>\n<blockquote>\n<p style=\"text-align: center;\">For forums sites go to <span style=\"color: #ff9900;\"><a style=\"color: #ff9900;\" href=\"https:\/\/forum.buradabiliyorum.com\/\" target=\"_blank\" rel=\"noopener\">Forum.BuradaBiliyorum.Com<\/a><\/span><\/strong><\/p>\n<\/blockquote>\n<blockquote>\n<p style=\"text-align: center;\"><strong>If you want to read more Like this articles, you can visit our <span style=\"color: #ff9900;\"><a style=\"color: #ff9900;\" href=\"https:\/\/en.buradabiliyorum.com\/social-media\/\" target=\"_blank\" rel=\"noopener\">Social Media category.<\/a><\/span><\/strong><\/p>\n<\/blockquote>\n<p><span style=\"color: black;\"><a style=\"color: #ff9900;\" href=\"https:\/\/www.hollywoodreporter.com\/tv\/tv-features\/fleishman-is-in-trouble-finale-ending-explained-taffy-brodesser-akner-lizzy-caplan-interview-1235288205\/\" target=\"_blank\" rel=\"noopener\">Source<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>The Ending, Explained \u2013 The Hollywood Reporter [This story contains major spoilers to the finale of FX on Hulu\u2019s\u00a0Fleishman Is in Trouble, \u201cThe Liver,\u201d which released 12:01 a.m. ET on Dec. 29.] Fleishman Is in Trouble appears to be a story about a divorce. But it ends up being about\u2026 everything. Or, as the show\u2019s&#8230;<\/p>\n","protected":false},"author":1,"featured_media":532404,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2022\/12\/Fleishman-illo-FX-Publicity-H-2022.jpg?w=1024","fifu_image_alt":"","footnotes":""},"categories":[17],"tags":[72887,98251,97579,26204,31745,70495],"class_list":["post-532403","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-social-mediaa","tag-adam-brody","tag-claire-danes","tag-fleishman-is-in-trouble","tag-fx-on-hulu","tag-jesse-eisenberg","tag-lizzy-caplan"],"_links":{"self":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/532403","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/comments?post=532403"}],"version-history":[{"count":0,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/532403\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media\/532404"}],"wp:attachment":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media?parent=532403"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/categories?post=532403"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/tags?post=532403"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}