![]() “I was really excited that we managed to smuggle in a storyline about ageism,” said Kay. In episode four, Assane befriends a journalist who has been written off in her old age. In the first episode, for example, Lupin goes undercover as both a janitor and also as a wealthy bidder taking advantage of being invisible in the first case (“I wanted to emphasize the fact that people don’t look at the janitor,” said Kay) and, later, how the character stands out in a crowd of white faces. ![]() The skill comes in how you subvert it,” said Kay, who enjoyed trojan-horsing social issues into his storylines. “The skill is not in how the heist works-it just has to be believable as a plan. The creator acknowledged that it’s hard to engineer groundbreaking heists, given how well-trod the genre is. “You want to box yourself into the smallest corner and then rack your brains to get out.” So that’s how we started thinking, how can you hang yourself without being hung?” Kay ended up brainstorming a trick involving stolen drugs and a basketball net. That fate, that same dramatic beat, was the kind of kernel around which the solution to the whole twist should come. “I wanted that same fate to befall Assane, because I think for all the progress socially, so much is still the same. “I really wanted the audience to think there was some kind of generational consistency,” said Kay. In episode two, Assane infiltrates and then escapes a prison by faking his own hanging-an homage to his own father’s death. The idea that you could upload something is abstract to the viewer, and I lose interest when it comes to that stuff.” Because I think that’s where good adventure family stuff comes from-with real objects and real blind spots and corners and shadows. “I used really everyday objects like spray bottles, trains, watches, clocks, radios, and stuff that could belong in the 1950s, the 1920s, tangible stuff. Kay was also keen to make Assane a kind of analog thief-eschewing most modern gadgets and the internet. The fresh spin allowed Kay, a father of two young girls, to update his slick-operating protagonist for modern times, clearly differentiating Assane from James Bond and his sometimes-problematic action-genre brethren. Rather than play Lupin himself, Sy portrays Assane Diop, a debonaire thief and master of disguise who is obsessed with both the literary character and avenging his late father ( Fargass Assandé). So Sy partnered with production company Gaumont and Killing Eve writer George Kay to concoct Lupin, a clever contemporary adaptation that has appealed to Lupin fans and illiterates alike-and propelled the show, which premiered January 8, to become Netflix’s most-popular French series. “Plus, he’s a character who plays characters. “He’s playful, he’s clever, he steals, he’s surrounded by women,” Sy explained. ![]() “But since I’m French, I said Lupin.” In France, the fictional gentleman thief created by novelist Maurice Leblanc in 1907 is considered as iconic as Sherlock Holmes. “If I were British, I would have said James Bond,” Sy told the New York Times. After the success of his César-award-winning role in 2011’s The Intouchables, French film star Omar Sy was asked to name his dream role-a carte blanche offer, the sort most actors dream about.
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