Settling Into the Flat with Legends: McKellen and Jacobi
For Ian McKellen and Derek Jacobi, Freddie and Stuart offered something both familiar and new. McKellen had spent decades commanding the stage and screen (Magneto, Gandalf, Shakespeare) and Jacobi likewise carried a storied career of classical theatre, early film and television accolades. Jumping into a studio sitcom — with live audience, gag-heavy scripts, and a focus on longevity of partnership rather than epic blasts of drama — was a pivot.
McKellen has said the role appealed partly because “it was a sign that the gay couple could be at the centre of a story, old rather than young, not defined by trauma or coming out.” That in itself felt like evolution for him. And Jacobi, in an interview, explained how the two of them had viewed each other for decades and now had the chance to work together — an unusual treat for such giants of the craft. Their on-screen dynamic, combative yet tender, mirrored their off-screen rapport: decades of respect, mutual admiration, and shared theatrical legacy.
When Vicious came to an end, both actors advanced their craft in significant ways. McKellen continued to take on important roles in both film and theater, although, starting around 2016, there seemed to be a focused effort on depicting roles that portray aging, legacy, and contemplation. Jacobi also maintained his range, moving seamlessly through film, television, and audio plays while Vicious heightened his public perception as someone who relishes comedy, and not merely seriousness.
The Younger Guy Upsairs: Iwan Rheon’s Shift of Gear
Iwan Rheon – Ash, the youthful neighbor in Freddie and Stuart’s world, arrived on the scene. Rheon, who had just wrapped a flamboyantly villainous role as Ramsay Bolton in Game of Thrones, was transitioning to gentler roles. In an interview, he described the opportunity to play a “nice guy” after years of sadistic roles as refreshing and strategic: “I like to have as much variety as possible. I’d hate to be typecast.” Working with McKellen and Jacobi allowed Rheon to perform with the masters, experience audience dynamics in live theater, and make a significant shift in his career.
Following Vicious, Rheon continued to engage in lighter acting projects and even released his first album. This new role in a sitcom, even if it was for a shorter time than Game of Thrones, allowed him more creative flexibility, opened up new opportunities for casting directors, and provided him with a rhythm of live comedy that he had not yet experienced.
Curtain Call
One subtle yet powerful tale is how the entire cast and crew molded a mini-theatrical company. McKellen and Jacobi, older, long-time friends, and collaborators, enjoyed this time together. For Rheon, the legends to whom he walked onto the set with were real and he joined their family, which he later called “wonderful for a young actor.” The live audience provided the trio with rather primal forms of feedback, which in turn “silenced” shooting and made it more alive.
The show’s management had its own challenges, pragmatic ones. In the UK, it debuted to 5.8 million viewers, but by the end of the season, it settled to just about half that number. The creator would later say that the show did better in the US market than in the UK because McKellen and Jacobi were less type-cast and audiences were more willing to accept “two old gay men bickering.” The subsequent decision to produce a second series, including a special finish in 2016, acknowledged the network’s perception of the subdued ‘uniqueness’ that was more ‘steady’, albeit it was not the blockbuster sitcom success.
What Happened After the Final Special
The end of Vicious left the actors to pursue different new goals, each in part influenced by the show. For McKellen, it meant a return to more visible work, yet the sitcom also meant he had broadened his range to include live-audience sitcoms, a significant shift from carrying a mythic fantasy. For Jacobi, it contributed a lighter notch to his serious career as he continued to work across different mediums. For Rheon, the show represented a stepping stone into more varied characters as his post-Vicious work illustrates an expansion beyond villainous roles.
Rheon previously expressed concerns regarding typecasting, particularly the potential of being restricted to portraying abusive roles indefinitely. However, his time in a small ensemble, learning the weights of comedy within a live studio setting, and acquiring the skills of time management within a structured setting, have all contributed to his development for the plethora of roles that might await him in the future.
Why Vicious Still Matters in the Actors’ Lives
It’s a rarity for a production featuring old age, long-term love, and a good deal of cranky banter to have a ripple effect on younger actors, established icons, and broader industry attitudes all at once. Out of the world of television youth-dramas, how many comedies feature two men of over seventy? The mere existence of that show shifted a good deal of casting discussions. The show also provided texture for the actors. McKellen and Jacobi not only expanded their artistry, but Rheon also diversified his image. The rest of the cast also contributed to the community bond that fans of the show nostalgically recall. The ethos of the rehearsals, a mix of live audience engagement, and intergenerational respect were channel and become engrained in the process each actor describes today.
Once you see their resumes after Vicious, you see the ripple effect. McKellen and Jacobi might not need it to stay relevant but used it to demonstrate new facets. Rheon did not escape his past roles but was able to open doors to something different. And all three left with work that provided both safety and comfort (performing with friends) and risk (a live audience sitcom, and an unconventional subject matter). In the quiet snapshot that was Vicious’ two seasons, you see the three very different career arcs, intertwined by one flat in Covent Gardens, one dog, and a lifetime of “I can’t stand you—but I still mirror your life.”
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