Matt Bomer & Jonathan Bailey on ‘Fellow Travelers’ Finale

Warning: Spoilers for Fellow Travelers ahead.

Matt Bomer and Jonathan Bailey had a feeling their characters’ sexual escapades in Fellow Travelers would ignite a social media firestorm. But apart from some in-person encounters with fans who watched the Showtime limited series, both actors claim they’ve avoided going down a rabbit hole of reactions to their performances.

“The first week of just seeing a GIF of a toe was kind of alarming,” Bailey says in a joint interview with Bomer. “But when you’re doing a scene like that, you know what function it serves—not just in the story, but in the selling of a TV series. I call it the Trojan toe: You slip it in, get people watching, and by the time they get to (that moment), they’ll understand exactly what the show’s setting out to explore.”

Adapted from Thomas Mallon’s 2007 novel, Fellow Travelers chronicles the clandestine romance between Hawkins Fuller (Bomer), a debonair State Department employee, and Tim Laughlin (Bailey), a wide-eyed college graduate, who fall in love at the height of McCarthyism and the Lavender Scare in 1950s Washington D.C. As they weave in and out of each other’s lives across multiple decades, Hawk and Tim’s enduring relationship hurtles toward a devastating conclusion in the 1980s. Following Tim’s terminal AIDS diagnosis, Hawk visits his lover—whom he has nicknamed “Skippy”—one last time in San Francisco, where they both come to terms with the significance of their volatile romance.

“A lot of people feel seen—not just by the sex scenes, but by aspects of queer identity on the show,” Bomer says. “That’s the hope, right? That whatever you’re pouring your heart and soul into resonates with somebody or makes them feel seen.”

On a recent visit to New York City, Bailey and Bomer were affable and laid-back—a far cry from the brooding, tortured characters that have defined their respective careers. Bouncing ideas off each other, the charming costars spoke with W about their approach to telling their characters’ epic love story, the surreal experience of shooting their final scene together, and what to expect from Maestro and the next season of Bridgerton.

Why does Hawk and Tim’s connection make them question everything they thought they knew about themselves?

Jonathan Bailey: You will never really know what Hawk and Tim would’ve been like (as a full-fledged couple). You can’t judge them on anything, because there’s a survival element at play, which reflects the brutality of the world they were born into. As (the show) expands and this liberation blooms, we see more of (Hawk’s wife) Lucy (played by Allison Williams) and the impact of Hawk’s decisions on the characters around him.

To me, it’s a love story for the ages because you can follow any thread and it comes back to the political backdrop. But ultimately, there’s a real meeting of souls between the two. They complete each other in a way that’s so painful. But in a world where joy, connection and absolution are so hard to find, especially in the ’50s for gay men, it becomes addictive, and there are toxic cycles that come from it.

Matt Bomer: There are aspects of their own personal trauma that are complementary of each other.

JB: And they feed the other’s insecurities.

MB: The sad thing is, when Hawk is finally at a place where he can be his most authentic self and be available and empathetic enough to be a real partner in a relationship, it’s too late.

Hawk has a very specific moral code as a gay man living a double life in the 20th century: He is clearly able to show genuine affection for Tim, but he needs control in his relationships and is able to code-switch in public. Tim doesn’t understand Hawk’s ability to compartmentalize his life, but he still finds Hawk irresistible. How did you want to embody the many contradictions of your characters?

MB: For me, it all went back to Hawk’s childhood and that horrific incident that happened with his father (and his first love, Kenny). He refuses to be a victim, so he’s going to find a way to survive and thrive in whatever way he can. It all ties into the fact that he will never be the victim of a homophobic society or family again.

JB: What Tim’s really drawn to in Hawk is his center. Hawk is the epicenter of all these people’s worlds because he doesn’t afford them space to veer him off in any direction. Tim’s always there for Hawk when he needs him, but Hawk’s never really there for Tim, and that is something Tim is drawn to. Tim’s quest in life is his desperate need for a groundedness, and the choice I made early on was to physicalize Tim so that his inner and outer world were matched.

Tim finds it really hard to lie; he can’t not be completely transparent. The decoding of Hawk is something that fills all sorts of needs in Tim. But as he gets older and (society’s) way of thinking aligns with his need to disassemble the cards he’s been given, Tim finds a stillness and a calm, which is reflected in the way he can then handle Hawk.

MB: Hawk does have his allegiances and his own sense of empathy, but if it comes down to anything that’s going to threaten his survival, he can go full Scorpio and cut it off. (He’s) a little Mother Teresa, a little Tony Soprano. (Laughs.)

JB: And in the performing of (those scenes), Tim felt so much more love than I thought he would. In episode two, I think it became more confusing to play Tim in the best possible way, because when he says, “I don’t understand you” (to Hawk), it’s because he can see the palpable empathy, love, and compassion. That is just as real as everything else, and that is a bind for Tim and really hard to step away from. When they look at each other, there’s no one else that’s ever existed. And if you’re lucky enough to have that with someone, it’s really hard to let that go.

There are little details that anchor each of Hawk and Tim’s sex scenes—the eye contact, the importance of consent, the shifting power dynamics, the negotiation of how much of yourself you’re willing to give to another person. How did you want to subvert traditional depictions of queer intimacy?

MB: We were so fortunate that those scenes were just an extension of the story, that the relationship was never the same after one of those scenes as it was before. It was always an externalization of what was going on with the characters internally.

JB: I think it’s a rule that (creator) Ron (Nyswaner) learned on Homeland where every single scene has to further the story—and that’s true of the sex scenes. Because there haven’t necessarily been elevated, eight-hourlong gay dramas like this; there was space to breathe, and that constant negotiation between the two of them is so vital. I remember speaking to (executive producer/director) Dan Minahan in Toronto. We had a good few hours, and we ended up talking about intimacy and how you can capture it on film. The thing that I understand (from) enjoying love stories or intimacy on film is the moments where they surprise each other.

MB: Yeah! It’s not like Hawk’s pushing the envelope the whole time; Tim upends Hawk as much as Hawk upends Tim’s expectations.

JB: We basically started with the chicken soup (scene in episode one), when Hawk seduces Tim for the first time. By the time we were in episode four, we were really emboldened as a team. As Jonny and Matt, we were always whispering, “This is absolutely fine, if you want to do this.” For so many people, it’s bizarre to think of that as a job. But when the material is as rich as this, no stone will go unturned into (depicting) how intricate, sensitive, celebratory, and joyful those moments are.

MB: I believe everybody should get to play every role, but I think the fact that we’re both openly gay men lent an ease and an understanding of a lot of the aspects of the relationship.

JB: You can have conversations between yourselves of why your instincts are cropping up in those moments. It was a bit like when, just before they dive, synchronized divers do that thing where they jump up and clap.

MB: (Laughs.) That was us! And there’s no (going) halfway in scenes like those that are written in this (show). You know you have to go all the way.

Knowing that the entire emotional weight of their relationship rests on the penultimate line, “Promise you won’t write,” what did you want to convey in Hawk and Tim’s final scene together outside the governor’s ball? What do you remember from shooting their goodbye scene?

MB: I remember everything about that day.

JB: Yeah, I do too. Everything was in hyper-focus. It was overwhelming.

MB: It’s one of those scenes that you’re really glad you didn’t have to shoot on day two, because we had five and a half months of history (with) these characters. It was one of the last things we filmed together.

JB: I left (Toronto) early as well (to shoot Bridgerton), so we didn’t finish (shooting) together. We finished the love story in that scene.

MB: Yes, that’s right. It was one of those days at work where you have to try to get out of your own way and trust that all you’ve invested in these roles and these relationships will be inside of you. You don’t have to try to force or push anything; you have to just try to keep it alive and spontaneous when the cameras are rolling.

JB: I think we filmed it in the first take, didn’t we?

MB: Yeah.

JB: There are moments in that scene when it was like the world melted away. It’s amazing to see Tim establish his boundaries and be really kind with it. In that moment, he’s fully centered and aligned, and Hawk helps give him that final push to go, “I know what I’m doing, and what I’m saying is the right thing.” He’s never really known that with Hawk.

MB: Yeah, Hawk is finally emotionally vulnerable. I had every intention of coming into that scene and not letting any emotional vulnerability creep through, but it’s just one of those things where the scene takes over and you don’t want to block it.

Have either of you given much thought to what a second season of Fellow Travelers could look like?

JB: What I hope this (season) will be is a trampette into telling other queer stories, because two white gay men are the way in (to start a larger conversation), and it would be so interesting to have a world explored of (Jelani Alladin’s) Marcus and (Noah J. Ricketts’) Frankie. They were such a massive reason why I was like, “Okay, this is going to be good.”

MB: They weren’t in the book, and it was so important from the creatives that we included that narrative.

JB: I would totally come back and support Frankie’s story.

MB: Yeah, I would come in and do two days—whatever they need me for.

JB: Frankie and Marcus up front, and I’ll be there.

Surely, we all deserve to have the two of you star in a rom-com together (with a happier ending than this one).

JB: If someone comes up with it… Who would be the dream?

MB: To direct?

JB: Yeah. Luca Guadagnino?

MB: Yes, Luca or Andrew Haigh.

JB: We’ll do it!

MB: We’re there. And Russell T. Davies, if it’s a miniseries.

Have you discussed collaborating again in the future?

MB: Listen, sign me up to work with Jonathan Bailey any time. (They shake hands.) I will bring a tray to his character at the dinner table in a scene.

JB: Stop it. As long as it’s (like) Upstairs, Downstairs…

MB: (Laughs.) Yes, exactly. I would love that. Next time, I have to be British though. And I’ll come to London.

JB: I’ll be a Texan cowboy. (They laugh.)

In addition to Fellow Travelers, you both have new projects that will be debuting in the coming months. Matt, what were some of your takeaways from working with Bradley Cooper on Maestro?

MB: Bradley is such a generous and beyond talented scene partner—and his style of directing is so electric and present. He wants everything happening on the camera for the first time. I feel like I was really the beneficiary of his process before I started work on Fellow Travelers because I got to watch him and Carey (Mulligan) travel through all these phases of their multidecade romance. And then, (I was) getting to work with Johnny—who’s so similar in many regards, so generous, always keeping you on your toes and bringing things to the material that make the scene richer.

JB: Has Bradley watched Fellow Travelers?

MB: I keep telling him to! And Carey says she wants to. She keeps asking me where it’s on in England.

The third season of Bridgerton will premiere in two parts on May 16 and June 13, 2024. Jonathan, what new layers of Kate (Simone Ashley) and Anthony’s relationship will we see in the new season?

JB: I’m a massive fan of “Kanthony.” There’s so much to enjoy for both of them now, and we explore that in season three. They’ve overcome a lot. (We’re) talking about the need for communication in a romance, and that study of how they communicate and how little they did communicate until the very end (of season two). So now, we can see them completely celebrate each other for who they are. There are really lovely conversations about heritage and familial roles, and once you meet someone who understands you fully, having sacrificed so much for the families as they both have, how exciting (it is) to make decisions that might change the course for them (as a couple).