Ghosts' Román Zaragoza Ponders How Sasappis Died: ‘I Want It to Be Something Really Embarrassing'
And then there was one: Following Ghosts' reveal last season about how Hetty died, Sasappis is the only spirit left whose demise remains a mystery.
While his portrayer Román Zaragoza doesn't know when the CBS comedy will share the circumstances of Sas' death, he does have a request for how it should go.
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'I keep thinking it'd be really funny [if it was] something, like, incredibly embarrassing,' the actor tells TVLine. 'Because Thor was kind of there, so maybe he knows. Like, he's hiding it. I don't know, but I want it to be something really embarrassing.'
Zaragoza says he's had 'some conversations with some writers,' but the timing of the big reveal is 'very much up in the air.'
'They want to dive into it, but I think it's a slow burn,' Zaragoza explains. 'They don't want to show all the cards yet, because at this point, I think we know how every ghost died except for Sas, and we know all the powers, too. So I think they're trying to hold onto his death to be a bigger thing down the road. But I'm curious.'
In addition to diving into Sas' death, Zaragoza has a few other items on his Season 5 wish list. (The series was picked up for two seasons in February.)
'Seeing more of his life could be really fun,' Zaragoza shares. 'I want to see more of him with his dad, would love to bring my dad [Gregory Zaragoza] back [as Sasappis' father], and would love to see more about who he was when he was alive, because he was a timid person. In that flashback with his father, we saw that he's kind of timid, and then him with Shiki, he's timid, and saying, 'Hi,' and, like, how did that come about? Who is he? Who was he when he was alive?'
'The more that we can see that, it translates into what's happening now,' Zaragoza continues. 'And then that would be really fun to see him with [new love interest] Joan, and to see how all these things are coming back, all these things he hasn't even thought about for the last 500 years because he's just been dead, and been living that kind of afterlife.'
fans, what are your theories about how Sas died? Hit the comments!
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San Francisco Chronicle
4 hours ago
- San Francisco Chronicle
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5 hours ago
- Los Angeles Times
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Joseph McCarthy,' helped bring about his end.) As in the film, McCarthy is represented entirely through projected film clips, echoing the way that Murrow impeached the senator with his own words. It's a combination of political and backstage drama — with a soupcon of office romance, represented by the secretly married Wershbas (Ilana Glazer and Carter Hudson) — even more hermetically set within the confines of CBS News than was the film. It felt relevant in 2005, before the influence of network news was dissolved in the acid of the internet and an administration began assaulting the legitimate press with threats and lawsuits; but the play's discussions of habeas corpus, due process, self-censoring media and the both-sides-ism that seems increasingly to afflict modern media feel queasily contemporary. 'I simply cannot accept that there are, on every story two equal and logical sides to an argument,' says Clooney's Murrow to his boss, William F. Paley (an excellent Paul Gross, from the great 'Slings & Arrows'). As was shown here, Murrow offered McCarthy equal time on 'See It Now' — which he hosted alongside the celebrity-focused 'Person to Person,' represented by an interview with Liberace — but it proved largely a rope for the senator to hang himself. Though modern stage productions, with their computer-controlled modular parts, can replicate the rhythms and scene changes of a film, there are obvious differences between a movie, where camera angles and editing drive the story. It's an illusion of life, stitched together from bits and pieces. A stage play proceeds in real time and offers a single view (differing, of course, depending on where one sits), within which you direct your attention as you will. What illusions it offers are, as it were, stage magic. It's choreographed, like a dance, which actors must repeat night after night, putting feeling into lines they may speak to one another, but send out to the farthest corners of the theater. Clooney, whose furrowed brow is a good match for Murrow's, did not attempt to imitate him, or perhaps did within the limits of theatrical delivery; he was serious and effective in the role if not achieving the quiet perfection of Strathairn's performance. Scott Pask's set was an ingenious moving modular arrangement of office spaces, backed by a control room, highlighted or darkened as needs be; a raised platform stage left supported the jazz group and vocalist, which, as in the movie, performed songs whose lyrics at times commented slyly on the action. Though television squashed the production into two dimensions, the broadcast nevertheless felt real and exciting; director David Comer let the camera play on the players, rather than trying for a cinematic effect through an excess of close-ups and cutaways. While the play generally followed the lines of the film, there was some rearrangement of scenes, reassignment of dialogue — it was a streamlined cast — and interpolations to make a point, or more directly pitch to 2025. New York news anchor Don Hollenbeck (Clark Gregg, very moving in the only role with an emotional arc) described feeling 'hijacked … as if all the reasonable people went to Europe and left us behind,' getting a big reaction. One character wondered about opening 'the door to news with a dash of commentary — what happens when it isn't Edward R. Murrow minding the store?' A rapid montage of clips tracking the decay of TV news and politics — including Obama's tan suit kerfuffle and the barring of AP for not bowing to Trump's Gulf of America edit and ending with Elon Musk's notorious straight-arm gesture, looking like nothing so much as a Nazi salute — was flown into Clooney's final speech. Last but not least, there is the audience, your stand-ins at the Winter Garden Theatre, which laughed at the jokes and applauded the big speeches, transcribed from Murrow's own. And then, the curtain call, to remind you that whatever came before, the actors are fine, drinking in your appreciation and sending you out happy and exhilarated and perhaps full of hope. A CNN roundtable followed to bring you back to Earth.
