By their own admission, Jude Law and Jason Bateman aren’t exactly culinary enthusiasts. Yet, not long ago, they found themselves on a series of elaborate tasting menu adventures, meticulously choosing dishes “like we were getting married,” as Bateman quipped. Law playfully added, “We were choosing side plates, and glasses!”
This gastronomic journey was all in preparation for their new eight-episode limited series, “Black Rabbit,” now streaming on Netflix. Law and Bateman portray brothers fueled by intense friction, entangled in a high-stakes dramatic thriller set against the backdrop of a trendy, fictional Lower Manhattan restaurant. Far from a foodie fantasy like “The Bear,” the delectable menus in “Black Rabbit” serve merely as a veneer for the darker narrative.
Indeed, even the frantic chases and raw violence are secondary to the show’s core: a visceral exploration of familial bonds pushed to their limits by ambition and greed.
Before joining forces on “Black Rabbit,” Jude Law and Jason Bateman admired each other’s careers. They now portray brothers and former bandmates in the series, bringing a compelling dynamic to the screen.
“It goes back probably to the earliest forms of storytelling,” Law explained, who also executive produced the series alongside Bateman. “Warring brothers, loving brothers, opposites.”
Bateman, who helmed the first two episodes, elaborated: “Structurally, being brothers gives you a bank that allows for massive misbehavior — without destroying the connection.” He pointed out that while marriages can end in divorce, siblings are different: “They can literally beat each other up, and still, we’re always going to be brothers. You’re stuck with me.”
Their partnership might seem unexpected: the elegant, 52-year-old Law, a distinguished British drama actor, and the 56-year-old Bateman, a Hollywood veteran known for comedy who has evolved into a formidable multimedia force. Yet, both were equally engrossed in meticulously crafting the world of Black Rabbit, the name of their fictional Financial District eatery.
Although the series is set in modern times, its creators, the married writing duo Zach Baylin and Kate Susman, drew inspiration from the vibrant, somewhat seedy atmosphere of downtown Manhattan’s hipster heyday – think Beatrice Inn, Spotted Pig, skinny jeans, and The Strokes. The cast and crew were dedicated to authenticity, from the specific New York locations to the minute details, right down to the restaurant’s trendy Bo Bo chickens. Their writers’ room even included former staff from acclaimed restaurants like Babbo, ensuring a true-to-life portrayal.
Baylin and Susman initially pitched the project, but the actors also actively sought each other out. Law admired the darkly witty grittiness that Bateman masterfully brought to “Ozark” (2017-22), the Netflix crime series he starred in and frequently directed.
In “Black Rabbit,” Bateman takes on the role of the troubled brother burdened by gambling debts. However, it soon becomes clear that Law’s character is hardly an innocent figure, adding layers to their complex dynamic.
Bateman, in turn, was simply a huge fan of Law’s work. “There’s been no one I’ve been more excited about as a new person in my life,” he effused when Law appeared last year as a guest on SmartLess, the successful podcast Bateman co-hosts with Will Arnett and Sean Hayes. (Arnett confirmed, “I’ve never seen him so impressed,” referring to Bateman.) They delved deep into Law’s impressive career, discussing his breakout performances in “Gattaca” and “The Talented Mr. Ripley,” blockbuster hits like “Sherlock Holmes,” and his captivating “papal legacy” in HBO’s “The Young Pope” and its sequel, “The New Pope,” both of which Law starred in and produced.
Their budding camaraderie was palpable during a late summer breakfast at Locanda Verde in TriBeCa, a popular celebrity haunt where Aziz Ansari and Bill Hader were spotted separately. Law, fresh from a morning run, exuded a “Cali-fresh” vibe in white pants, white sneakers, and a slate cashmere hoodie over a tank top, subtly revealing his salt-and-pepper chest hair.
Bateman, casually dressed in a black T-shirt and jeans, sported a perfectly tousled chestnut brown mane. (Notably, Bateman’s “Black Rabbit” character embraces a formidable mountain man beard and an array of wonderfully unkempt hairstyles.)
These co-stars, despite coming from distinct acting backgrounds, share surprising parallels: both began their careers young, Bateman in ’80s sitcoms and Law as a teenage stage actor. Both achieved rapid success without needing other jobs. And both possess striking blue eyes and tattoos peeking from their sleeves, making for a remarkably well-matched onscreen duo.
Reflecting on the core brotherly relationship in “Black Rabbit,” Law emphasized its ancient roots, stating, “It goes back probably to the earliest forms of storytelling. Warring brothers, loving brothers, opposites.”
“Acting’s a weird job,” Law mused. “You don’t want to be doing a lot of lonely wandering around. It’s great having a partner; it’s kind of like playing sport.”
Law plays Jake Friedken, the younger brother and a seemingly smooth operator who manages Black Rabbit, a bustling townhouse pub poised for significant expansion. His ambition is to transform it into more upscale ventures with cleaner finances. Bateman portrays Vince, the older, more troubled sibling who returns home burdened by debts to a mob boss (played by Oscar winner Troy Kotsur of “Coda”), disrupting Jake’s plans with his chaotic presence and potent cocktails. The dynamic between their characters constantly shifts between charisma and disorder throughout the series.
Bateman summarized their on-screen synergy: “Together, they kind of make one good brother.”
The show’s creators, Susman and Baylin, couldn’t pinpoint specific discussions about casting each role, but Law’s familiarity with New York nightlife in the 2000s made him a natural fit for Jake. And seeing Bateman defy his typically strait-laced persona brought an exciting edge to the project. “He took it further than we could have ever dreamed of,” Susman remarked, adding that the imposing beard was Bateman’s own suggestion.
Early reviews from the Toronto International Film Festival have been mixed, yet consistently praise the compelling chemistry between the two leads. Laura Linney, who worked with Bateman on “Ozark” (playing his wife) and directed two episodes of “Black Rabbit,” observed that their on-screen relationship “pops because they’re so different.” She also collaborated with Law in the 2016 film “Genius.”
Bateman humorously emphasized the unbreakable nature of sibling bonds: “With siblings, they can literally beat each other up, and still, we’re always going to be brothers. You’re stuck with me.”
“Jude is an incredibly, uniquely refreshing person to be around,” Linney commented. “He’s just positive, and a wellspring of circulation. He’s a great de-stresser.”
And of Bateman, she added, “He’s a galvanizer. His enthusiasm is contagious.”
Their acting processes diverged significantly. Law meticulously crafted extensive backstories for the brothers, detailing their childhood and the roots of their love and rivalry, which he then shared with Bateman. Bateman, however, was less inclined towards such detailed biographies. “He just sort of went, ‘Sounds good to me,’” Law recalled with a chuckle.
As the director of the initial episodes, Bateman expertly managed all foundational elements, even planning camera movements while the scripts were still being written. “Jason is the fastest mind I’ve ever been around on set,” noted Zach Baylin, an Oscar-nominated screenwriter known for “King Richard.” Law, for his part, embraced intense scenes without hesitation. Baylin recounted one emotional moment where director Justin Kurzel instructed Law to throw his shoes into traffic and walk away barefoot—a direction Law readily followed.
Bateman and Law, posing in front of the old bar that served as the exterior of the “Black Rabbit” restaurant in the series.
Another memorable scene saw Vince and Jake locked in a brutal fight near the B.Q.E. “Cars were whizzing by at 80 miles an hour, and they were there in their underwear for six hours,” Susman described, emphasizing the grueling nature of their on-screen struggle.
For Troy Kotsur, playing the villainous mobster, who operates from the depths of the Russian & Turkish Baths in the East Village, offered a unique opportunity to explore new facets of his craft. “I’ve never seen a Deaf villain or a Deaf person portrayed in the mafia,” Kotsur, who is Deaf, shared via email. “It opens up questions you wouldn’t think about. How would a Deaf man sign while chasing someone with a gun?” He meticulously developed a compelling one-handed signing style for his character, which powerfully conveyed his chilling ferocity.
“The signing needed to be subtle enough that even his own henchmen don’t know what he’s thinking and what he’s going to do or say next,” he explained.
Visually, the series is bathed in moody lighting, shot predominantly with hand-held cameras, which heightens the sense of unease in its world. The Friedken brothers, who began their journey as indie rockers from Coney Island, lend the soundtrack a distinct New York City vibe, featuring bands like Interpol and the Beastie Boys. Albert Hammond Jr., guitarist for The Strokes, composed the original songs for the brothers’ fictional band, also called The Black Rabbits, which appear in flashback sequences. (Bateman gleefully mentioned that some of Vince’s vintage band T-shirts, including Pixies and Sonic Youth, found a new home in his own closet.)
Actress Laura Linney describes Bateman as a “galvanizer,” praising his infectious enthusiasm.
During a photo shoot at the now-defunct bar serving as Black Rabbit’s exterior, Bateman and Law were seen playfully applying stickers featuring the show’s logo around the South Street Seaport neighborhood.
“I feel like an outlaw,” Bateman joked as he climbed atop a traffic barrel.
Hardly. Despite a “wild period” in his 20s, Bateman now maintains a remarkably composed demeanor. He recently confessed to suffering during a “Black Rabbit” promotional appearance on the talk series “Hot Ones,” where guests brave increasingly spicy chicken wings. “This is the level of commitment I have,” he declared. “My G.I. is on fire.” (This led to a flurry of “dad joke” food metaphors between Law and Bateman.)
Both actors are fathers. Law has seven children from various relationships, ranging from adults to two preschoolers with his wife, Phillipa Coan, a psychologist. Bateman has two teenage daughters with his wife, Amanda Anka, an actress and producer. He proudly shared that his eldest had just begun studying film in college, continuing a family legacy that includes his father, Kent Bateman, also a director.
Bateman aptly summarized the dynamic of his and Law’s characters, stating, “Together, they kind of make one good brother.”
“He’d take me to the movie theaters instead of the park, and I got really interested in acting and directing,” Bateman explained, recalling how he directed his first television episode at 18 for “The Hogan Family,” a show he also starred in.
In “Black Rabbit,” the brothers’ relentless ambition constantly threatens to lead them astray. Yet, in real life, Bateman and Law consistently inspired each other to push their creative boundaries.
On “Ozark,” Bateman had encouraged Linney, a celebrated stage and screen actor, to direct. He extended that same enthusiastic encouragement to Law during their breakfast, praising his “astonishing set I.Q.” and “unmatched” taste.
Law admitted to being daunted by the prospect of acting and directing simultaneously. “I do not know how you compartmentalize all of those necessary decisions,” he confessed to Bateman.
“You can do it in a second,” Bateman confidently replied, launching into a detailed pitch that Law listened to intently, visibly swayed by the argument.
As they continued their conversation, wandering through Lower Manhattan, their discussion never once faltered.