Pop-Culturalist.com

Few shows have mastered the balance between action, heart, and character-driven storytelling quite like Cobra Kai, and in Season 6, Part 2, the series introduced a new wildcard in Axel, played by Patrick. As a formidable presence on the mat, Axel exudes intensity, but beneath his tough exterior lies a character grappling with loyalty, identity, and his own internal battles. Patrick’s nuanced performance adds depth to Axel, making him one of the most compelling additions to the Cobra Kai universe—and one of the rising young stars to keep an eye on.

In Part 1 of our interview, Pop Culturalist spoke with Patrick about the complexities of playing Axel, from the physical demands of embodying a fighter to the emotional layers that make his character so intriguing. He shared how his dynamic with co-stars Lewis Tan and Mary Mouser shaped Axel’s evolution, what it was like stepping into such an iconic franchise, and the challenges of transitioning between theater and screen acting.

With Cobra Kai Season 6, Part 3 set to drop in early February, Patrick teases what’s ahead for his character, including Axel’s growth, unexpected discoveries, and the high-stakes moments that will keep fans on the edge of their seats. Whether he’s striking fear in his opponents or showing glimpses of vulnerability, Patrick ensures that Axel is anything but one-dimensional.

PC: Axel serves such a distinct purpose in this story, but your interpretation brings such a three-dimensional, layered character—someone with a tough exterior yet a surprisingly gentle essence at his core. What was it like exploring and developing all the different shades of his personality to make him feel both authentic and cohesive?
Patrick: With any character, you want to find the similarities between yourself and the role and lean into those—especially with this character. The vulnerability and softer side came more naturally to me. I felt more comfortable with that aspect than the other, so that wasn’t as much of a challenge to portray.

It’s funny because, in the scenes with Sam, there’s this awkward, nervous energy that a lot of actors already experience on set or in auditions. It was nice to lean into my nerves a bit—oddly enough, that became the boost I needed in those moments.

But as you said, it’s crucial to show that side of the character. Otherwise, he risks becoming a one-dimensional villain, which he isn’t written to be. You really need to care about that other side of him, especially considering what he’s been through with his sensei. Bringing that to life was a challenge, but a fun one. It’s always a joy to play a character who isn’t just interesting but has so many layers. We know what to expect with one-dimensional villains, but Axel has an unpredictability that I love.

PC: Huge credit to you as well because Axel is a man of few words, and so much of his depth is conveyed through non-verbal communication and your creative choices. There are incredibly poignant moments where his vulnerability and internal struggle are evident. Can you talk about collaborating with the creative team to shape those subtle yet impactful moments?
Patrick: Jon Hurwitz and I had a call before filming, where he gave me a rundown of the character. My audition scenes were the one with Sam on the beach and the moment when I get hit by Sensei Wolf, so we covered a lot of ground. He also called me and said, “Look, I know you got this much from the audition and have that understanding, but here’s the arc and what’s going to happen with your character.” We discussed his goals, what to expect, and where he was headed, which really shaped my approach to Axel going into the role.

As for those specific moments on set, it was really about playing with things. It was a combination of direction from the executive producers and the episode’s director, along with the choices I was making. It’s something you discover as you go—it’s almost like finding a rhythm. Some days, everything clicks, and it’s so obvious what needs to happen in a scene. Other days, you’re searching for it.

It’s funny—your question and rewatching Part 2 made me realize how important subtitles are in those moments where you might not think they matter. You can really get a read on what a character is thinking or feeling, even in scenes where the script might not emphasize it. But yeah, sometimes you don’t expect to find a moment there, and suddenly it just comes to you, and you realize, “This would be a great place to show this.”

PC: You feel that as an audience member—you see the contrast in Axel’s journey. That’s also one of the benefits of television as a medium: you have the opportunity to try different takes and see what lands. I’d love to hear about your experience transitioning between theater and the screen. On stage, you’re taught to be bigger and louder so you can reach the last row. On screen, the camera picks up all those subtle nuances. How much of an adjustment has it been moving between mediums?
Patrick: That’s a really good question. It is a huge adjustment. First and foremost, like you said, in theater, you don’t get another go at it. There are pros and cons to both mediums. The beauty of theater is that you rehearse something so many times, and since you’re only performing it once per night, it becomes so ingrained in you that you’re able to be more present as an actor in a lot of ways—I’ve always felt that.

With TV and film, it’s a constant start-and-stop process. You also have to hit the right mark so the light hits you correctly, or you have to wait for someone to cross. There are so many technical elements behind the scenes that make being present much more difficult. You have to reset every take and be fully in the moment again. You want to be present with your scene partner, but at the same time, you’re thinking about how missing your mark or mistiming a movement could throw things off for the camera team. You have to get really good at resetting your mind. But to your point, there’s beauty in that as well because you get multiple attempts. I even think about that when I’m taping an audition—sometimes, I’ll do it three or four times, and on the fourth take, I’ll discover something I didn’t find in the earlier versions.

I haven’t done theater since college, but I’ve been wanting to get back to it. I transitioned pretty much immediately into TV and film, and it’s been about six years now. So while it’s hard for me to fully compare both experiences at this point, I will say the transition was relatively smooth. That said, it is weird shifting from one to the other because they’re so different in many ways—but I love both.

PC: There’s something beautifully tragic about Axel’s journey in this series, especially his relationship with Sensei Wolf. He’s been conditioned to believe that this is what it takes to win and be the best. I imagine that requires a lot of trust between you and Lewis [Tan] to explore those darker, more intense moments. Can you talk about collaborating with him to bring that dynamic to life?
Patrick: Absolutely. Lewis is such a great guy—we got along really well, despite our characters butting heads. He’s just a genuinely nice person. You don’t necessarily want to method act, but sometimes it can be tricky when you need to feel intimidated by a character, especially when you’re close with the actor playing them. That emotion can be hard to tap into.

But with Lewis, even though we were friendly on set, he has this naturally intimidating presence. [laughs] So when they called action, it was easy to put myself in the mindset of someone who feels inferior and timid. He just carries that energy, which made it effortless to play off of. I really enjoyed working with him—I thought we had a great rhythm together.

The first scene we filmed was the training scene where he’s hitting me because I’m not doing it correctly. That scene came together pretty seamlessly. We had a nice flow, and he’s such a talented actor. You want to work with people like that—actors who challenge you and elevate your performance. You sharpen each other.

PC: You can feel that you’re feeding off each other. It’s also funny because Axel is such a commanding presence for the other characters, so it’s fun to see that dynamic flipped.
Patrick: Right! You wouldn’t expect to see him in that position. I completely agree.

PC: On the flip side of that, as you were saying, through his relationship with Sam, we get to see Axel let his walls down. She plays such a huge role in helping him see another perspective. How different is it preparing a scene with Mary [Mouser] compared to Lewis, given how drastically different these dynamics are?
Patrick: I relax into myself a bit more when I’m doing scenes with Mary’s character, Sam, because I relate more to that side of Axel than I do to playing a villain. I connect with that awkwardness and feeling unsure—I’ve felt that way a lot in my life, and in some ways, maybe I still do. So it’s easier for me to settle into those scenes with her. And again, when you’re working with someone as talented as Mary, you naturally feed off each other.

With Lewis, the preparation is different, but in some ways, it’s actually similar because I’m still tapping into a version of Axel who is unsure, scared, and timid. If you think about it, while the scenes are very different, Axel is still figuring things out. He doesn’t know how to interact with Sam—it’s unfamiliar territory for him. He’s thinking, “Who is this? Why is she showing that she cares about me? This is the first time I’ve felt this.” With Sensei Wolf, he doesn’t know if what he’s doing is right or wrong.

So while the dynamics are completely different, the emotional preparation is similar in a way. That said, the scenes with Sam were much easier to lean into than playing this intimidating fighter or warrior. That was a much bigger challenge for me than portraying someone who is vulnerable and uncertain.

PC: In your own career, who has been that person who helped you see things from a new perspective?
Patrick: That’s a great question. I really found acting on my own, but my theater professors in college, Shirley Kagan and Matt Dubroff, helped me discover the joy in it. They were the first people who truly believed in me and pushed me to pursue it, which was something I hadn’t experienced before. No one in my family had done it, and I didn’t have any friends who had either. They were the first to show me that acting could actually be fun, and they were very influential in that way.

Then, when I came to L.A., my management team—Peter [Kluge] and Terra [Weiler]—became instrumental in helping me grow both as an actor and as a person. There’s a real family dynamic with them, and that support has been invaluable. It would be hard to say I’d be where I am without them because in this business, you need people to lean on, to lift you up, and to encourage you. It’s so easy to be hypercritical and get down on yourself. Having people who believe in you, along with a strong support system of friends, makes all the difference.

PC: Season 6, Part 3 is dropping in early February. What can you tease about what’s ahead for your character and what fans can expect from these final episodes?
Patrick: You can expect some growth and more discovery—that’s probably the biggest thing I can tease. Expect it to be exciting. I’m really looking forward to people seeing how the series unfolds and wraps up.

To keep up with Patrick, follow him on Instagram. Stream Cobra Kai on Netflix today.

Photo Credit: Brad Everett Young