Director Jeremiah Zagar’s return to Philadelphia for his latest HBO crime drama, “Task,” was more than just practical; it was deeply personal. He describes filming in his hometown as an “intrinsic intimacy,” feeling like the city’s pulse runs through the project.
“Task,” HBO’s newest crime drama, delves into the Pennsylvania suburbs, building on this heartfelt connection. From the mind of Brad Ingelsby, the creator of “Mare of Easttown,” this limited series centers on an FBI agent tracking violent robberies, only to discover the prime suspect is an unassuming father. The show continues Ingelsby’s signature style of capturing a lived-in sense of place, exploring working-class dynamics, and embracing moral complexity, while broadening its scope to examine themes of family, loss, and life-altering decisions.
A still from HBO’s ‘Task’
| Photo Credit: HBO
The series unfolds in neighborhoods where, as Zagar notes, “everyone is struggling to achieve.” This pervasive sense of striving and the resulting community bonds deeply influenced his directing. He encouraged the cast to share meals and forge genuine connections off-screen before portraying siblings. This preparation, he explains, allows them to bring an “intimacy and familiarity” to their roles that feels authentic.
A still from HBO’s ‘Task’
| Photo Credit:
HBO
Zagar’s directing style reflects this emphasis on closeness. He positions himself near the actors, just out of frame, believing that “actors feed off your energy.” He adds that witnessing his investment makes them “comfortable being invested” in turn. This technique, he reveals, was inspired by Quentin Tarantino’s advice to him during the filming of “We the Animals”: stay beside the camera, not behind a monitor.
Tom Pelphrey, known for “Ozark,” was drawn to the emotional depth of Robbie, a father caught between affection and desperation. He explains that Robbie’s profound love for his children was the initial hook, serving as the foundation for a character who descends into destructive decisions. Pelphrey views Robbie not merely as a criminal, but as a man trapped in “impossible situations,” compelling the audience to perceive his actions from a fresh perspective.
Pelphrey describes the show’s violence as less about brutality and more about a breakdown in communication. “It comes from running out of other options,” he clarifies, where “frustration erupts into physical violence,” a primal attempt to fulfill a need. He emphasizes that Robbie operates under a strict code: “No one’s going to be seriously injured. No one’s going to get killed. We’re going to take money, but not drugs. There’s a real ethos to what he’s doing.”
The presence of child actors brought an unexpected honesty to the set. Pelphrey jokingly references Marlon Brando’s caution about working with children, noting that “they don’t lie.” He found acting opposite Samuel, who plays Robbie’s son, to be a grounding experience, demanding full presence. “In between every take, we’re laughing, we’re making jokes, we’re running around. Kids keep the set in a very special place.”
A still from HBO’s ‘Task’
| Photo Credit:
HBO
As a father, Zagar deeply connected with this dynamic. He ensures that when Mark Ruffalo or Tom Pelphrey interact with the child actors, they are treated “with the same kind of love that we would want to give to our own children,” fostering an environment where the children feel comfortable and connected.
Philadelphia is the heart of the series. Zagar characterizes it as an “underdog” city, where working-class and middle-class communities are intertwined. He observes a “combined and united struggle,” even reflected in its sports teams. He fondly recalls Allen Iverson’s fleeting moments of glory with the Philadelphia 76ers, a city-wide miracle always followed by a defeat. “My son, he’s 10 years old, he’s constantly reminding me that the Sixers didn’t win that series,” he quips.
Pelphrey, a New Jersey native, experienced the deep authenticity while shooting in Delaware County, or “Delco.” He describes the very atmosphere as “constantly infused with that energy,” a quality he cherishes. He credits Ingelsby’s script for perfectly capturing this unique spirit, noting, “It’s present on the page.”
Fabien Frankel, recognizable as Ser Criston Cole from “House of the Dragon,” portrays Anthony Grasso, a role he approached initially through physicality. He highlights a specific line from Brad’s script – “he puts out his big paw for Aaliyah to shake” – as a vital entry point into the character. Frankel also undertook police training with local officers in East Town, but his ultimate goal was to uncover Grasso’s humanity. He views Anthony as someone “who has gotten himself into an incredibly difficult situation and now doesn’t know how to get out.”
A still from HBO’s ‘Task’
| Photo Credit:
HBO
Transitioning from the “Game of Thrones” prequel, Frankel acknowledges being typecast in morally ambiguous roles, jokingly remarking, “Admittedly, HBO seemed to only see those kinds of parts. So I take the good where I can get it.” Yet, he asserts that Anthony isn’t inherently untrustworthy. “He’s flawed, but Brad writes the why of his questionable actions very clearly,” he explains.
Alison Oliver, the Irish breakout star of “Conversation with Friends,” offers a different perspective on her character, Lizzie. She found Lizzie “so funny and endearing” in the script, drawn to playing someone “who isn’t sort of aware of how disruptive she is.” Oliver attributes Lizzie’s chaotic nature to a messy divorce and a feeling of aimlessness, noting that “by the time you meet her, she brings a lot of baggage.”
Their on-screen chemistry with Fabien introduced a delightful unpredictability. Oliver tells Frankel, “I feel like I sort of take on some of your calmness,” to which he agrees, adding that he’s “most chaotic when he’s with Lizzie. She’s wild. Bringing out all these sides of me.”
Both actors fondly recall humorous moments during filming. Oliver remembers one task force meeting scene where uncontrollable laughter repeatedly broke takes. She notes, “The only takes that are in that scene are the ones where we’re not laughing.” Frankel corroborates, stating, “If you were to put a camera on any other person not on screen, you’d see them in a deep, profound fit of laughter.”
Ingelsby’s writing, lauded by the cast, is at the core of the series. Oliver praises his nuanced character development: “He never writes bad people or saints. They’re all contending with something, and there’s a reason behind why they’re doing what they’re doing.”
Zagar discusses the importance of silence, explaining that the pauses and moments between dialogue in “Task” are crucial for revealing character motivations. He believes “the most important moments in any television show or movie are the moments of silence.” He empowers his actors to “be quiet and free to improvise,” trusting in their process.
This series portrays a story rich in character and setting, crafted from authentic details and genre conventions. Much like “Mare of Easttown,” “Task” thrives in moral grays. Pelphrey encapsulates this, saying, “When you can do that, you force a different conversation. You force people to ask: are there horrible people, or are there terrible incentives? Or are there both?”
“Task” is available for streaming, with new episodes releasing weekly.