Painkiller’s Peter Berg is not concerned about the comparison to Dopesick. In Hollywood, it is common for similar projects to be developed concurrently, and Berg sees this as a positive thing. It means that more people are learning about the ongoing opioid crisis and the role of Purdue Pharma and the Sackler family in its origin. This story has been told in other films and documentaries, so Berg’s Netflix series and Danny Strong’s Hulu series are not alone. Each storyteller likely welcomes additional stories until the crisis is solved.
One of the most devastating aspects of Painkiller, which Berg executive produced and directed, occurs in the opening minutes of each episode. A parent or couple reads a standard legal disclaimer that some events have been fictionalized for dramatic purposes. However, the scene takes a turn when they say “what wasn’t fictionalized” and share a heartfelt and emotional story about losing a child to opioid addiction. Berg wanted to include real families who had lost children to OxyContin in the disclaimer, rather than letting Purdue Pharma off the hook. After receiving approval from Netflix’s legal department, they reached out to families in the Los Angeles community and were overwhelmed by the response from 80 families within the first 10 hours.
In a recent conversation with The Hollywood Reporter, Berg discusses his thoughts on competing stories, particularly Dopesick, and how Painkiller differentiated itself. He didn’t pay much attention to the direction others were taking and focused on making his own show. He believes there is room for multiple stories about the opioid crisis, just like there are many films about wars in the Middle East.
According to Berg, Painkiller often feels like a psychological horror movie, especially in episode five. This tone was intentional, as the greed and lack of concern from Purdue Pharma and the Sackler family felt like a dark, absurdist nightmare. While it had moments of dark comedy, the suffering was never downplayed.
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The show begins each episode with real-life parents whose children died from opioid addiction. This framing device was added late in the production process due to a legal requirement for a disclaimer. Berg felt the original disclaimer let Purdue Pharma off the hook, so he suggested involving real families. The response from families who wanted to share their stories was alarming and highlighted the devastating impact of OxyContin addiction.
Berg reunited with Taylor Kitsch, with whom he has worked on previous projects like Friday Night Lights, for Painkiller. Kitsch’s personal connection to the topic, as his sibling battled OxyContin addiction, made him a perfect fit for the role. Berg appreciates working with people he knows well and trusts, and Kitsch’s passion and personal connection to the story enhanced his performance.
Berg has worked on both film and TV projects and doesn’t have a specific preference. He likes to go back and forth between the two and chooses projects based on the story and characters. He believes there is no rhyme or reason behind his choices, but rather a desire to tell compelling stories.
In conclusion, Berg views the concurrent development of Painkiller and Dopesick as a positive thing that raises awareness about the opioid crisis. Painkiller differentiated itself through its tone and the inclusion of real families affected by OxyContin addiction. Berg’s collaboration with Kitsch, who has a personal connection to the topic, added depth to the series. Berg’s career spans film and TV, and he chooses projects based on the story and characters rather than a specific preference for one medium over the other.
