In his debut novel “The Talent,” Daniel D’Addario—chief correspondent at Variety and a veteran entertainment journalist—delivers exactly what his professional background promises: an insider’s view of Hollywood’s most prestigious ritual, the awards season. Through the intertwining stories of five actresses at different stages of their careers, D’Addario constructs a narrative that is equal parts fascinating and frustrating, much like the industry it depicts.
The novel unfolds during one turbulent awards season, following Adria Benedict (the established legend), Jenny Van Meer (the perpetual runner-up), Bitty Harbor (the young star with demons), Contessa Lyle (the former child actor), and Davina Schwartz (the respected British theater transplant). Each woman is nominated for the same prestigious acting award, and D’Addario skillfully weaves between their perspectives as they navigate the gauntlet of publicity appearances, magazine shoots, and industry politics that make up modern Hollywood’s most sacred ritual.
The Five-Pointed Star: Character Development
At its strongest, “The Talent” by Daniel D’Addario offers a nuanced exploration of women at different career stages, each grappling with the particular challenges of their position:
- Adria Benedict emerges as the most fully realized character—a three-time winner intent on breaking the record with a fourth award. D’Addario masterfully portrays her rigorous self-control and the calculated performance of her public persona, particularly in scenes where she must navigate unfamiliar territory like meeting with an old friend or dealing with a physical injury.
- Bitty Harbor, the youngest nominee, spirals through the novel in a haze of alcohol and insecurity. Her chapters provide some of the book’s most affecting moments, particularly in her relationship with her ailing mother and her desperate attempts to feel valued by her costar.
- Contessa Lyle’s chapters shine when exploring her complicated relationship with her manager mother, though her storyline involving text messages with a male costar feels less compelling than the mother-daughter dynamic.
- Davina Schwartz, a serious British actress navigating the superficiality of Los Angeles, offers an outsider’s perspective that works best when examining the cultural clash between theatrical training and Hollywood performance.
- Jenny Van Meer, perhaps the most thinly drawn of the five, serves primarily as Adria’s foil until the novel’s final chapters, when her perspective gains depth through her therapy sessions.
What prevents the novel from reaching its full potential is that while each character has compelling moments, some storylines feel underdeveloped. Contessa’s professional ambitions and Davina’s relationship with her female director both feel like they could have been expanded. Jenny, in particular, remains somewhat enigmatic until the novel’s closing pages.
The Script: Structure and Style
D’Addario employs an experimental structure that alternates between traditional narrative chapters and inventive formats: emails, magazine articles, gossip blog posts, and interview transcripts. This approach mirrors the fragmented way celebrities are perceived by the public, but it sometimes creates a distancing effect that keeps readers from fully connecting with the characters.
The prose style varies considerably depending on the character in focus. Adria’s chapters feature precise, controlled language that reflects her personality, while Bitty’s sections contain more stream-of-consciousness elements that effectively convey her increasingly chaotic mental state. This technique demonstrates D’Addario’s technical skill, though occasionally the voices blur together, particularly in the middle sections.
A particularly innovative structural element is the way D’Addario begins the novel with a flash-forward to the awards ceremony itself, then moves backward to trace how each woman arrived at that moment. The final chapters then move forward again to reveal the winner—a clever mirroring of how awards shows themselves build dramatic tension.
The Production Design: Setting and World-Building
Where “The Talent” by Daniel D’Addario truly excels is in its vivid depiction of the Hollywood ecosystem. D’Addario brings to life the particular rituals of awards season with an authenticity that clearly draws from his years covering entertainment:
- The grueling magazine photoshoots where actresses must maintain perfect composure while dressed uncomfortably
- The awkward panel discussions where competitors must pretend to be supportive friends
- The strategic planning sessions with publicists who calculate every move
- The intimate-yet-performative interviews that feel authentic but are carefully choreographed
D’Addario has a keen eye for the small, telling details that reveal the power dynamics of the industry. When Bitty’s publicist arranges for her to shoot alone while other actresses must share studio time, or when Adria negotiates her final position in the film’s credits, these moments effectively illustrate how status is constantly asserted and challenged.
The Mixed Reviews: Strengths and Weaknesses
“The Talent” by Daniel D’Addario succeeds most when exploring the industry’s paradoxes. D’Addario understands that for actresses, being perceived is both their product and their prison. Some of the novel’s strongest passages examine how each woman attempts to maintain control over her image while being constantly evaluated, commodified, and compared to others.
The most riveting scenes occur when the actresses interact directly with each other, particularly the charged encounters between Adria and Jenny, and between Eleanor (the pioneer who paved the way for them all) and Contessa. These moments crackle with tension and unspoken history.
However, the novel occasionally falls into familiar Hollywood satire territory. Some industry figures—particularly male directors and producers—verge on caricature. The depiction of the vapid talk show host who interviews Davina, for example, feels less nuanced than other characterizations.
Additionally, while D’Addario effectively captures the particular pressures faced by women in the industry, the novel sometimes seems uncertain how deeply to explore more serious issues. Bitty’s alcoholism, hints of sexual misconduct on film sets, and the particular challenges faced by women of color in Hollywood are all touched upon but rarely examined with the same detail given to awards strategy or magazine interviews.
The Final Cut: Overall Assessment
“The Talent” by Daniel D’Addario is an ambitious debut that provides readers a compelling peek behind Hollywood’s carefully constructed façade. Like many debut novels, it reaches for more than it can fully grasp, but its ambition is admirable. D’Addario clearly understands the complex ecosystem he depicts, and his insider knowledge gives the novel an authenticity that distinguishes it from more superficial Hollywood tales.
The novel succeeds most with Adria and Bitty, whose character arcs feel most completely realized. Their chapters could almost stand alone as a compelling novella about two women at opposite ends of the industry lifecycle. The other three actresses, while interesting, sometimes feel like they’re competing for narrative attention much as they compete for the award itself.
At its core, “The Talent” by Daniel D’Addario raises provocative questions about what women owe each other in competitive spaces, about the nature of artistic validation, and about the stories we tell ourselves to justify our ambitions. When the novel allows these questions to breathe through its characters’ experiences rather than explicitly stating them, it achieves moments of genuine insight and emotional resonance.
The Verdict
“The Talent” is an impressive but uneven debut that suggests Daniel D’Addario has significant storytelling potential. Readers who enjoy industry-focused narratives like “The Devil Wears Prada” or Michael Tolkin’s “The Player” will find much to appreciate, though the novel lacks the satirical bite of the latter. For those interested in women’s experiences in Hollywood, it makes an interesting companion to novels like Megan Abbott’s “The Turnout” or memoirs like Demi Moore’s “Inside Out,” though it sometimes struggles to balance insider detail with emotional depth.
Like the awards ceremony it depicts, “The Talent” is glamorous, occasionally profound, somewhat overlong, and populated with performances of varying impact. And like the actresses at its center, it leaves you curious about what D’Addario might do next, now that he’s established himself on the scene.
