The true story behind ‘Smoke,’ plus ‘Odd Mom Out’ and ‘Pavements’ for your weekend streaming

Welcome to Screen Gab, the newsletter for everyone who can’t stand the heat outside, but can tolerate it onscreen.

The eerie and bizarre story of John Orr, a Southern California arson investigator who authorities say moonlighted as a serial arsonist suspected of setting some 2,000 fires in the 1980s and 1990s, has been chronicled in the 2021 podcast “Firebug” and, earlier this year, received the deep-dive treatment from L.A. Times writer Christopher Goffard. Now, there’s a new Apple TV+ series, “Smoke,” loosely inspired by the true crime case. Author and screenwriter Dennis Lehane, who created the new drama, stopped by Guest Spot to discuss it.

Also in this week’s Screen Gab, TV critic Robert Lloyd reminds us that Bravo used to dabble in scripted programming, recommending “Odd Mom Out,” the short-lived comedy about a stay-at-home mother and her experiences navigating the bizarre and outrageous world of Manhattan’s elite; and film reporter Josh Rottenberg suggests finding time to watch a hybrid documentary-biopic film about the ‘90s indie band Pavement.

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Must-read stories you might have missed

Jerry Bruckheimer, whose new movie “F1” hits screens this week, poses for a portrait in his Santa Monica office.

(Jason Armond / Los Angeles Times)

The movie business isn’t going to collapse. Jerry Bruckheimer explains why: Thirty-five years after “Days of Thunder,” the hard-charging “F1” producer is not slowing down: Bruckheimer talks fast cars, big-budget spectacle and the state of Hollywood.

‘My Mom Jayne’ led Mariska Hargitay to see her mother ‘like a superhero’: The “Law & Order: Special Victims Unit” actor created an emotional and revealing documentary about her mother, Jayne Mansfield, who died when Hargitay was just 3 years old.

‘The Bear’: Apologies and reconciliations lift the mood in Season 4: The latest season of ‘The Bear’ shows Carmy and the crew reacting to various obstacles, including a negative restaurant review, but everyone’s on the road to happiness.

‘Countdown’ makes Los Angeles a prominent character — and it’s in danger: The Prime Video action series follows a task force consisting of members from various law enforcement agencies that are brought together after the murder of a Department of Homeland Security agent. But it’s Los Angeles that is in serious danger.

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Recommendations from the film and TV experts at The Times

Jill Kargman as Jill and Andy Buckley as Andy in “Odd Mom Out.”

(Barbara Nitke / Bravo )

“Odd Mom Out” (Peacock)

In my review of the new season of “The Bear” this week, I neglected to mention Abby Elliott, who plays Sugar, the level-headed sister of Jeremy Allen White’s Carmy (or to mention Sugar’s new baby, the most adorable infant I have ever seen on screen); ironically, it was because, laboring to express how great she is in it, I had set that bit aside — as it turned out, permanently. Happily, I was already planning to use this space to recommend her earlier series, Jill Kargman’s very funny “Odd Mom Out,” Bravo’s brief experiment (2015-17) in scripted comedy, giving me this chance to self-correct. In “Mom,” whose three seasons stream on Peacock, Kargman, a very talented amateur, stars as a version of herself in a series based on her 2007 book “Momzillas,” about competitive parenting among Upper East Side New Yorkers, a war her boho-punk mother of three character declines to enter. (She is what most of us would call rich, but not obscenely so, and has good values.) Elliott, in a whimsical comic turn, plays Brooke, the pregnant and thin wife (later ex-wife) of her brother-in-law, whose charities include providing “prophylactic gastric bypasses for at-risk kids with morbidly obese parents” and sending bouncy castles to Africa. — Robert Lloyd

Stephen Malkmus in “Pavements.”

(Utopia)

“Pavements” (available on various VOD platforms)

If you were young and vaguely disaffected in the ’90s, Pavement was either your favorite band or the band your favorite band wanted to be — a group whose slanted (and enchanted) songs defined slacker cool, mixing lo-fi chaos, shaggy pop hooks and a shrugging disinterest in “career, career, career,” as they put it in their semi-hit “Cut Your Hair.” So it’s only fitting that Alex Ross Perry’s drolly funny anti-rock-doc ditches the usual mythology-building formula in favor of something far weirder. Blending real tour footage, a faux biopic, a tongue-in-cheek jukebox musical and a museum filled with half-fake relics, the film is part tribute, part Gen X time capsule, part absurdist prank. “Stranger Things” star Joe Keery is the film’s unexpected MVP, playing himself with deadpan commitment as he fixates on nailing lead singer Stephen Malkmus’ Stockton accent — right down to requesting a photo of his tongue for research. By the end, “Pavements” becomes both a joke about the band’s legacy and a surprisingly sincere celebration of it. — Josh Rottenberg

Guest spot

A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching

Taron Egerton in Apple TV+’s “Smoke.”

(Apple TV+)

He spent his days as a fire captain and arson investigator in Southern California, but authorities say John Orr lived a secret life as a prolific arsonist responsible for a string of fires that terrorized the region in the ‘80s and ‘90s. An unpublished novel he wrote, “Points of Origin,” detailed an arson spree that mirrored real-life incidents and helped authorities secure enough evidence to arrest him. The firefighting veteran was eventually convicted on 20 counts of arson and 4 counts of murder and is serving life in prison. Orr continues to maintain his innocence. This true story, chronicled in the 2021 podcast “Firebug,” is the basis for Apple TV+’s new nine-episode crime drama “Smoke.” Created by Dennis Lehane (“Black Bird”), the series follows arson investigator Dave Gudsen (Taron Egerton) and Detective Michelle Calderone (Jurnee Smollett) as they pursue two serial arsonists. The first two episodes are available to stream, with the remaining seven releasing weekly every Friday until Aug. 15. Lehane stopped by Guest Spot to discuss the show’s gnarly fire sequences and getting Radiohead frontman Thom Yorke to provide the show’s theme song. — Yvonne Villarreal

You’ve authored several well-known novels, including “Gone, Baby, Gone,” “Mystic River” and “Shutter Island,” and you’re familiar with exploring moral ambiguity. What stood out to you when you first listened to “Firebug”? And what about it made it a story you wanted to tell for the screen?

What really stood out for me with “Firebug” was John Orr’s myopic duality. He clung to the identity of a hero arson investigator even as he was running around lighting up Glendale and surrounding areas, resulting in several deaths. On top of that, he was writing a book about an arson investigator chasing a serial arsonist. And the book was quite bad. I found that kinda delicious. I was also intrigued by his methods for setting the fires and was taken by the fact that he’d once nearly died in a fire when he mistook his reflection for another firefighter and ran deeper into a burning house.

Everything else in the show is pure fiction. I didn’t want to tell a story about John Orr in 1980s California; I wanted to tell a story about our culture now, about people who feel so unmoored they’d rather cling to the fiction of themselves over the fact.

Tell me about the planning and work that went into crafting the fire sequences in the series — how you decided when to use special effects or real fire, and the precautions that needed to be in place for the latter. And is there a fire sequence in the series that stands out for you?

The moments that stand out most are the first fire — Dave’s dream — and the last — the sawmill fire. The first of these was 100% real. It was shot on a burn stage with pipes blasting flame all around the room as Taron — not a stunt man — walked through it. It looks so impressive because a) we planned really hard; and b) Sam McCurdy, our director of photography, is a painter with light and reflection. Our sawmill fire and the subsequent car ride thru the burning forest was the opposite — it was predominantly CGI, but we’d realized by then that the key was to shoot as much real fire as we could (which, in this case, wasn’t terribly much), so the CGI wizards had real flame to compare their work to.

How did you get Thom Yorke to write a song (“Dialing In”) for the show’s theme?

Our music supervisor, Mary Ramos, had heard that Thom was a fan of “Black Bird” [Lehane’s previous Apple TV+ series that also starred Egerton and featured much of the same creative team]. We reached out to see if he had any interest in writing a song for our credit sequence. And he actually called us back. He and I spoke about the underlying themes of the show and he read a bunch of the scripts. Then he went off and wrote the song. He sent it back to us and someone, I think it was Mary, said, “Now you have to give him notes.” And I was like, Um … no, no, I don’t. He’s Thom Yorke. Giving him notes on music would be like telling Scorsese where to put the camera. I passed along this note:”Thank you.”

What have you watched recently that you’re recommending to everyone you know? (Please explain)

“Dept. Q” [Netflix]. Scott Frank, as always, crushes it as both a writer and a director. It’s got one of the best pilots I’ve ever seen, and the cast, led by Matthew Goode and Kate Dickie, is impeccable. It’s so rich in character and atmosphere that I wanted to fly to Edinburgh to simply hang out with every character after I finished watching.

What’s your go-to comfort watch, the film or TV show you return to again and again? (Please explain)

“Midnight Run” [Netflix] is my cinematic chicken soup for the soul. It’s smart, hilarious, infinitely quotable, sports one of the greatest casts ever assembled, and it’s non-stop, breakneck fun from the first shot to the last. I’ve probably seen it 30 times.