The Staircase (2022), Part Three
The final three episodes of The Staircase fizzle more than end. Michael Peterson is still in prison, but he has a chance to redeem himself via an Alford plea. He’s not crazy about this idea because he wants to maintain his innocence. Some of his family members aren’t crazy about it either because they firmly believe he’s guilty of Kathleen’s murder.
Meanwhile, Michael and Kathleen’s blended family and other relatives try to pick up the pieces of their own lives, whether that means getting super drunk, dying their hair blue, or making real estate investments in Cabo. There are lots of changes going on.
Oh, and we can’t forget the infamous Owl Theory, which seems plausible at first but doesn’t pan out because no one wants to give their permission to exhume Kathleen for a new autopsy. This angle is pursued by Sophie, who has hung on to the bitter end but then winds up seeing Michael for who he is and bolts.
These episodes were a blur for me, probably because I didn’t feel all that emotionally invested. What I saw was a man who presented different versions of himself to everyone around him, even to himself, and when the chips were down no one knew how to relate to him. This kind of dynamic puts up barriers between people whether they want them or not, and sooner or later everyone moves on. Michael shouldn’t wonder why he’s alone with no one calling him back, but that’s what happens when goalposts are constantly moved.
That’s not to say there weren’t any high points. My favorite involved Kathleen marching into the attic with a chain saw and scaring the creep out of those danged bats, who explode from the upstairs windows like a bomb going off. Michael watches in bewilderment from the car with Mahler blaring on the radio. It’s a great moment.
I appreciate the way the series never picks any of the possible scenarios it introduces, because the obvious subtext is that the filmmakers trust the viewer enough to think and draw their own conclusions. It seems very considerate of them.
Ironically, this approach has angered the real Michael Peterson, who still maintains his innocence. He thinks he’s been “pimped” by Campos, who took way more liberties than he should have. He’s also angry at Staircase documentarian Jean De Lestrade, who sold the rights to Peterson’s story to Campos for what Peterson sees as a mere pittance, and didn’t tell Peterson or his family. Funnily enough, de Lestrade is angry about the artistic liberties taken as well, as is the real Sophie Brunet, who didn’t like how manipulative and stupid her onscreen counterpart looked.
This strikes me as odd, because Peterson is a writer. De Lestrade and Brunet are both in the film industry. They had to know that changes would be made for various reasons. They also had to know that if a contract for rights isn’t drawn up with both parties in mind, the seller always loses. It’s not nice, but it’s so common that it’s almost normal.
Maybe Mr. Peterson’s ire has more to do with Campos being over the target than any alleged “pimping.” He seems to have a mixed relationship with his family, many of whom have held onto their views of him and the murder. One of his stepdaughters won a wrongful death lawsuit against her former stepfather as well.
Regardless of what he thinks of the HBO Max series, Peterson certainly has many ghosts to contend with. In yet another twist of irony, Peterson currently lives in a first-floor apartment with no staircase.
The Staircase can be seen on HBO Max. Rated TV-MA.
My grade (Episodes 6-8): B
Principal cast: Colin Firth, Toni Collette, Parker Posey, Michael Stuhlbarg, Patrick Schwarzenegger, Dane DeHaan, Rosemarie DeWitt, Trini Alvarado
Created by Antonio Campos and Maggie Cohn