Jonathan Bailey Balancing Fellow Travelers, Bridgerton and Wicked

Talking about his role in Showtime’s Fellow Travelers, Jonathan Bailey can’t help but be earnest. It’s a trait he calls out about himself but is learning to embrace, as he notes the importance of the series for LGBTQ+ viewers around the world, and within his own life, where it’s helped him chart a path forward and earned him his first Emmy nomination.

“I’m so grateful that it’s for something that I can talk passionately about endlessly, and it feels really important,” Bailey says of the supporting actor nomination.

In the limited series, Bailey plays Tim Laughlin, an idealistic congressional staffer who falls in love with Hawkins Fuller, a career-first State Department official played by Matt Bomer. Their relationship begins during the Lavender Scare of the 1950s, when homosexuals were banned from holding positions in the federal government, and evolves across several decades, as the pair contend with the Vietnam War, the AIDS crisis, and societal pressure.

Bailey spoke with THR about the significance of the show, created by Ron Nyswaner and based on Thomas Mallon’s novel, and balancing the shooting schedule with Bridgerton and Wicked, as well as his upcoming role in Jurassic World 4.

What made you say yes to this role?

I heard that Ron was going to be investigating and exploring 40 years of queer life and experience. But at that time, it looked like I might not be available. I pursued it. And after doing something like Bridgerton, it felt important to me to find something rich and complex. There’s nothing more of a gift than to be able to educate yourself, and also in the investigation and in the performance of it, to live a really dangerous life, but within safety, and, ultimately, write this love letter to those that came before us. I was enchanted by the idea, and there was no part of me that didn’t think it was the punkest thing to do.

What impact do you hope this series can have?

By stepping back 50 years or 70 years, you can highlight exactly what’s going on in our societies today. There’s rhetoric we hear now in politics that echoes Senator McCarthy’s speech that’s featured early on in the series. I’ve been in Thailand working recently, and there are so many people across the world now on these streaming platforms that get to watch it, and there are so many people who are living under a similar sort of regime to the Lavender Scare and the oppression of McCarthyism, and so much more extreme than that. I think the impact we wanted was for people to be celebrated, educated, and also for all the people who have lost their lives fighting, and spent their lives having to fight, to pay homage to them. I know this sounds incredibly earnest and sincere.

That’s not a bad thing.

No, it’s not. And that’s one thing that I’ve learned from Tim, because I can see how it’s changed the course in my life, put into focus levels of importance about how you communicate your own identity, and understanding that all of us inherit such a deal of shame, which comes from powerful figures using fear and an aggressive sort of alienation to control people. I’ve had more messages about this than anything I’ve ever done, and more people stopping me and wanting to talk about their own lives, whether they lost their fathers, their uncles, or they were children of someone who died in the ’80s. But then also now I get to live my life.

The thing that makes me really smile is that last Pride month, I was filming Wicked, and when I’m working, I’m incredibly disciplined and don’t really go out. But for Pride, me, Andrew Scott, and Jessica Gunning all ended up on a night out together. We snaked through SoHo and had a really good bop that night. And it’s just so funny to see all of us now nominated for Emmys. It’s kind of extraordinary. And you think about that, about how now that’s being celebrated, which is amazing. But I look up and think, “Where are the 50-year-old and 60-year-old gay actors?” There’s a whole generation that’s been lost. That’s why the earnestness is afforded, for sure, and I feel very proud.

The Fellow Travelers scene, where Matt Bomer’s character seductively tells yours to “shut up and drink your milk,” has really taken off, especially after you turned it into a T-shirt collection with Loewe to raise money for your LGBTQ+ foundation, The Shameless Fund. What prompted that?

I went to present an award for Matt at the [Human Rights Campaign] in Washington, and being in the room with people who were just so galvanized — it was my first American gala, and I was infected by the energy. I had this idea of a T-shirt, and it occurred to me that it should be about the spilling of the milk.

I think we had four scripts before we started, and there was one version of a sex scene, which I’ll leave to Ron Nyswaner to reveal at some point in the future, which was wild, and then when I saw that it moved to the milk. I just thought, this is such an incredible moment of the exploration of power within sex and intimacy. “Shut up and drink your milk.” It feels to me like an incredibly political line, somehow.

Has playing Tim informed what roles you want to take on next?

Yes, a hundred percent. Since then, I’ve magically been able to find parts that have similar character arcs, that have something massive to question and to overcome. But right now, I would say that I’d probably be looking for something as far away from Tim as possible, and I’m going back onstage anyway. I started in theater, and I wouldn’t have been able to give the performance in Fellow Travelers had I not done 12 weeks onstage just before it because it’s so academic and it’s so in the body. You sort of have an exorcism, and you end up being a husk with no conversational skills or anything. But what you do have is stripped-back, pure instinct, which is so great to feel. I’m looking forward to going back onstage next year. But I’ll be excited to see what parts are lurking around the corner after that.

You’re doing Richard II in the West End, another intense role.

Yes, and equally as sort of questioning and as poetic, I think, as Tim. In between running away from dinosaurs — I just spent a whole day doing stunts [for Jurassic World 4] — I just walked around Valletta with my AirPods on listening, trying to learn a soliloquy, and I’ve managed to get one soliloquy down, so I’m thrilled.

You were also shooting Fellow Travelers, while also shooting Bridgerton and Wicked, right?

That’s right. The whole experience has just shown me how amazing producers can be. I think it was 32 days in a row where I didn’t have one day off. And I flew back and forth four times. I’d go from Hawk’s house in the ‘60s at the cabin, go straight to the airport, sleep on the plane, go straight to a regency ball, sleep there, then go straight to Wicked to be learning choreography. And at that point, I was so late in joining the Wicked lot because they’d already started filming, and that also was incredible for Marc Platt to make that work. There’s nothing quite like the feeling of trying to work out the priorities of whether you have to learn the choreography today, or work on your American accent, or pelt your hair ready for another Bridgerton snog.

How did you keep track of all those different roles in your mind?

I probably wouldn’t rush into doing that again. Music for me is absolutely key, but it always sort of has been. It was an absolute freefall and luckily, I’ve got patient friends and family, and you just have to sort of sign off for a bit. I found playing Tim an incredibly happy place to be, which is also a testament to his spirit, I think, because obviously it was some really brutal stuff and the yearning and the constant battle that’s going on in his head of questioning what’s right and what’s wrong. But I would say that I was quite good at rolling all the way through and then at the end, I had a five-day holiday, and my hair had died from all the perming and straightening because I had to perm my hair for Bridgerton and straighten my hair for Fellow Travelers. I was like a teenage beauty advert, doing everything to my hair. I remember going on this holiday and I got to the beach, I sat down in the sun, and my hair was just floating, whisping off, like breaking away. And I looked completely and felt completely insane.

Why did you want to do the new Jurassic World movie?

The original film Jurassic Park was just a completely life-changing moment because I went with my full family, and it was quite a rarity to all go because I’ve got three older sisters. Every frame of that film is imprinted in my mind, and the Frank Marshall-Spielberg duo of the films in the ‘80s and ‘90s are just what totally encapsulated, enchanted, and inspired so much in me. I couldn’t quite believe I was stepping into something that I so adore, and the script is brilliant. And it’s David Koepp again, who wrote the original, and it just asks some really brilliant fundamental questions that the original film did as well.

This story first appeared in the August 14 issue of The Hollywood Reporter magazine. Click here to subscribe.