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AUGUST 27, 2020

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THE STAND-UPS SPEAK STATE OF REPRESENTATION LATE NIGHT'S NEW LOOK

TIFFANY HADDISH AND JOHN THE INDUSTRY STILL HAS A BEHIND THE SCENES OF MULANEY COMPARE NOTES LONG WAY TO GO TO TRUE REMOTE PRODUCTIONS INCLUSION WITH NOMS Untitled-8 1 8/24/20 3:58 PM Untitled-8 2 8/24/20 3:58 PM TOP BILLING

STRENGTH IN NUMBERS For Showtime’s “Love Fraud,” filmmakers Heidi Ewing and Rachel Grady followed a group of women as they attempted to bring fugitive Richard Scott Smith to justice.

IN THE SIXTH EPISODE of Jehane Noujaim and Karim Amer’s docuseries “The Vow,” Sarah Edmondson, a whis- Victims Become tleblower who was once in the inner-circle of NXIVM and also a part of its master-slave subgroup DOS, is asked outright if she is a victim. Although she answers quickly in the affirmative, Victors she also makes it clear that she made choices during her time working with the organization. Some of these choices simply kept her involved, while others were direct recruitment of other young A KEY CROP OF DOCUSERIES ARE LETTING THE WOMEN women. To some, this may paint her in the colors of someone IN CRIMINAL STORIES TAKE BACK THEIR NARRATIVES more culpable than coerced. But the truth is much more complicated. And what Noujaim and WITH NUANCE AND PERSPECTIVE Amer endeavor to do with their nine-part HBO docuseries is peel

BY DANIELLE TURCHIANO back the layers of the psychology of not only the women who found themselves in this organization that purported to be one of self-im- provement, but also of its founder and high-ranking officials, who twisted the trust of many of those enrolling. By letting women tell their own stories and shining a light on manipulative tactics used 2020 on them, a number of recent docuseries from “The Vow” to Life- EMMY time’s “Surviving R. Kelly” and “Surviving Jeffrey Epstein” and even EDITION Showtime’s “Love Fraud” offer a greater understanding of the “why” behind behaviors, exposing nuance and the gray area that defies any of those aforementioned, reductive descriptors. SHOWTIME

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“Sometimes the word ‘victim’ employs a able to talk about it is very useful,” Mennen Jeffrey Epstein.” “When we go into the stigma that doesn’t leave room to embody continues. “Although, if people get asked edit, we just look at their stories as exten- the comeback,” says Brie Miranda Bryant, about it too much, they begin to define sions of how we’d want our own stories senior vice president, unscripted develop- themselves as that. One of the things I to be told. If you respect your subject and ment and programming, Lifetime. “These would talk with my clients about is learn- you allow them in their own words and women, their stories are tales of the strong. ing to see that this was an experience, but voices to speak their truth, that is a good Some of whom might not have even real- it wasn’t your only experience.” foundation.” ized their own strengths in their most dar- Those interviewed for these docuseries This is extra essential when consider- ing moments. And rooting for them along may be at different stages in their healing ing how many women are judged by the way is rooting for all of us.” processes, which requires care in how cer- or left to fend for themselves after report- For years, the entertainment industry tain questions are asked. Some, such as ing instances of assault, abuse or other profited off of “women-in-peril” programs, Virginia Roberts Giuffre, came to the proj- wrongdoing to law enforcement, or even whether they were ripped-from-the-head- ect already very vocal in sharing her expe- the media. lines original television movies, episodes of riences with the late, accused sex trafficker There has also been a more sensitive police procedurals or “Danger at 11”-style Epstein. Others, such as the women in “Love eye on supplemental interviews in such true-crime special reports and docuseries. Fraud,” who were all in relationships with series. Stern and Sundberg brought in Recently, as women’s stories became more polygamist and alleged domestic abuser experts in grooming and sexual assault for centered in scripted narratives, there has Richard Scott Smith, had banded together “Surviving Jeffrey Epstein.” (“It was import- been an increased shift in real-life survivors as a community but had not told their sto- ant [to have] the contextual use of a psy- getting an onscreen platform. ries widely. Others still were reluctant to chologist because oftentimes the survivors While this is a strong step forward in become public figures at all. themselves are so deep in their personal empowering these women to take back “For many, telling their story — and experience, it’s incredibly helpful to have their stories, Ferol Mennen, associate pro- publicly — for years felt hugely, hugely a sense of the larger picture,” Sundberg fessor of social work, University of South- shameful. [They felt] targeted, somewhat says.) But they paid careful attention to ern California, notes that the women first responsible for it,” says Anne Sundberg, how and when those interviews were used. must “want” to tell their story. And then co-director of “Surviving Jeffrey Epstein.” “If the experts were talking back and forth they need to tell “it to somebody who can What made much of the difference in and there was one woman that they were react appropriately.” Those who “get a lot of their desire to get involved in the projects referencing, we said that could be belittling support and are believed, they tend to feel was the amount of time the filmmakers IN CONTROL OF to her story, taking away from who she is more power,” she says. spent with them even prior to cameras roll- HER OWN STORY and the nuances of her life and her story. “Oftentimes one of the aftereffects [of ing to ensure they were all in this together. Virginia Roberts We had to make sure that we weren’t target- abuse] is helping them change how they “We spend time with people before, on Giuffre sat down ing any individual woman as an example of, for extensive see themselves and how they define them- the phone or lengthy email exchanges, so because then you lose their individuality,” interviews selves. If a woman has been in therapy for when we get into an interview we make with “Surviving Stern says. her experiences, then she may have made sure that people feel comfortable and they Jeffrey Epstein” When it came to “Love Fraud,” filmmak- documentarians that transition to understand that [assault know their narrative is in their hands,” ers Heidi Ewing and Rachel Grady opted not Ricki Stern and or abuse] is not her fault. The idea of being says Ricki Stern, co-director of “Surviving Anne Sundberg. to use some of the interviews they shot at all because they felt they were “opining and mansplaining,” says Grady. “Why are we adding a bunch of mansplaining minutes when the women who actually experienced it are right here in front of us?” Their four-part series takes a first- person approach, focusing solely on those who had direct experience with Smith and that further eliminated the chance of the women being referred to in negative or triggering ways. “They were definitely cautious because they were definitely afraid they would be assumed to be dumb, stupid, naive or trusting as bad,” Ewing admits. But, “we had an opportunity to really highlight that crimes against women are often not taken as seriously. There’s a lot of victim-blam- ing, especially when it comes to crimes against a woman who intimately knew [her perpetrator].” Mennen notes the most important thing is how women willing and able to talk about their experiences, and filmmakers equally willing and able to let them do so, effectively gives them back the power and control over their own stories. This “makes it easier for [other] survivors,” she says. “They know they’re not the only one.” LIFETIME NETWORK

8 VARIETY 8 EMMY ® NOMINATIONS INCLUDING OUTSTANDING COMEDY SERIES

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Untitled-48 1 8/20/20 8:40 PM sketch whichwent series, from tracted —includingvariety grew, butafew con- majorones the board. didn’t work necessarily across TV,the ageofpeak andthat to expand thecompetitionin was get eightslots.Buttheidea whichwillalwaysdrama series, the exception ofcomedyand tenders were submitted—with depending onhow many con- a category’s nominations a planthisyear tolimitorexpand Television Academy implemented 10 Stagnant TalkRace How to Shake Up the IN THERUNNING NOMINEE POOL, SO MAYBE A NEW CLASSIFICATION IS IN ORDER IN IS CLASSIFICATION MAYBE SO ANEW POOL, NOMINEE A SMALLER AWARDS IN RESULTED YEAR’S THIS FOR CHANGE A RULE As a result, some categories As aresult, somecategories talk series category? The category? series talk do aboutthevariety WHAT AREWE VREY VARIETY Michael Schneider goingto With Trevor Noah.” tha Bee” and“TheDailyShow Live,” “Full Frontal With Saman- phen Colbert,” “Jimmy Kimmel Oliver,” “TheLateShow With Ste- “Last Week Tonight With John and 2018, justwithoutCorden: exactly thesameas2019 … fornominees are varietytalk Corden” intheprocess. “The LateShow With James tofivenominees thisyear, losing whichwentvariety talk, from six Night Live”). Andthenthere is incumbent winner“Saturday Show,” and “DrunkHistory” year (“A BlackLadySketch to just threesix nominees this Otherwise, thefiveOtherwise, remaining across allcategories.” ofthinkingthatworkedsort have ofcentralized somesort competition: “We wanted to standardized across theEmmy the formula for is nominees in content,butalsotomake sure address thecontinuedexplosion me thechangewas to meant Frank Schermarecently told 81entrants. at least fornominees; six,there mustbe contenders competewithfive withbetweengories 20and80 cate- Underthenewrules, talk. just 24 submissionsinthevariety becausetherenominees were Television Academy CEO reducedThe category tofive James Corden” Incumbent got cut. race but“The still inthe TOUGH TALK Late Show With Oliver” is winner “Last With John Week Tonight o e not e h d tem e suc e bac a ple e tion a rec dates.” That’llget‘em talking. race, with23“candi-variety talk year let’s throw everyone inthe offiveInstead next nominees, one acontendertotheend. the playing fieldopenandevery- sidered “candidates.” Thatkeeps they’rebeing nominees, allcon- everyone canenter. of Instead uled dailyevening newscast), (suchprizes asregularly sched- awards. For thatceremony’s top AreaAngeles Emmys’ newscast inspired by theAcademy’s Los what’s thefunofthat? there are nonominations,so is awarded anEmmy. Butagain, one, more thanoneornoentry priate peergroup membersand are screened by ofappro- ajury animation, inwhichallentrants ing orindividualachievement in filmmak-merit indocumentary award, similartotheexceptional gory, sostrike that. takes thefunoutofcate- also non-competitive, which than one,ornowinners.Butit’s there’s apossibilityofone,more and to theothernominees, on itsown termswithoutregard nomination isconsideredeach inwhich categories, the crafts children’s program ormany of an“area”talk category, similarto &Mero”? “Desus buzzy newer contendersasShowtime’s just missedthecutoff, orsuch else —includingCorden, who where thatleave does everyone in themixyear year. after But with keeping thesameshows and Emmy voters happy appear oftheirnominations deserving arethe nominees perfectly not easy tosolve, however. All editing fields. hairstyling, makeup andsound andseveral design casting, maintitle costumes, temporary editing for con- adramaseries, such assingle-camerapicture nominationsincategories earn backbone ofthisindustry, to allowed the more artisans, TV That categories. ple crafts expanded recognition inmulti- tions trivia,therulechange about thisyear’s Emmy nomina- recently notedinmy column ll b xp dit dit ar air es o o T T Here’s my compromise, Perhaps itcouldbeajuried One optionistomake variety conundrumis The varietytalk That makes sense,andasI n e w h i a c k s u i i s p

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Jemel McWilliams The Oscars What was the pressure What was it like to be ‘IT WAS A REBIRTH FOR MANY OF THE DANCERS’ of simultaneously pre- backstage afterward and paring for the Gram- see the reaction to the By Jazz Tangcay mys and the Oscars? God number? Janelle, the per- worked it out so I couldn’t formers and I couldn’t stop get too much in my head. I screaming and crying. We THE OPENING NUMBER of the Oscar ceremony earlier this was had completed the Gram- were overjoyed. We got to memorable for its spectacle and commentary. The host-less mys opening two weeks be up there and be our- ceremony drew upon the star power of Janelle Monáe to perform an prior with Lizzo, but I was selves. We got to highlight rehearsing and prepar- films, honor the Oscars and industry-focused version of “Come Alive,” highlighting characters from ing for [it]. I started to prep do it our way. It was such films that had been snubbed by the Academy. Bringing this to life was the Oscars choreography a range of faces on stage. choreographer and Monáe’s frequent collaborator, Jemel McWilliams — on Jan. 2. I had to get the There were a lot of Black work done and didn’t have faces that you don’t often who was simultaneously working on the Grammys opening number with the time to let the pres- see in these moments. Lizzo. Now, McWilliams is Emmy-nominated for the Oscars in the variety sure of those moments Janelle and I got to seize or reality choreography category. settle in. I wasn’t until this opportunity because after that I had the, “Did I we got to do us the way we just do that?” moment. I wanted to do us. thought, “This Black boy from Washington, D.C., just What is the balance of choreographed the open- technicality and heart in ing number for the Oscars.” your process? I have to That’s when I got nervous. serve as a coach and moti- vator. It’s one thing to be How did the concept on the dance floor, but it’s for “Come Alive” come another to understand together, and how did you what the performance was get all of the elements rooted in and its message. together? This is show I don’t work on technicali- business, and a lot of the ties, but rather I look at the time, it’s about “hurry up heart of the performers. and go.” Janelle talked to We’d sit in prayer circles me about it back in Decem- and talk about rejection ber when we were on vaca- within the industry and tion. She dropped the what we were dealing with. news on me and we started I had dancers who felt dis- brainstorming. We started couraged and were on the to look at what creatives verge of quitting. A lot of would fulfill us. Janelle is deep-seated things came a visionary. She had this out during those circles. vision of bringing these Dancers felt seen through characters to life on stage. the job and the process. And it was my job to exe- What you got to see was a cute and stay true to her group of dancers who were vision. I had to also service so connected to their pro- the Oscars because they cess, and it was a rebirth have their moment of high- for many of the dancers lighting films, so we still who felt like they were had to hit certain beats. coming alive.

WHERE ELSE YOU’VE SEEN JEMEL MCWILLIAMS’ WORK: “JANELLE MONÁE: DIRTY COMPUTER,” “JOHN LEGEND: CHRISTMAS UNDER THE STARS,” “THE VICTORIA’S SECRET FASHION SHOW” DERREL R. TODD & MIESHA DENNIS TODD DERREL R.

12 VARIETY 6 EMMY® AWARD NOMINATIONS “BREATHTAKING”

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Untitled-14 1 8/19/20 2:53 PM ARTISANS

Capturing the Tone With One Short Tune

ORIGINAL MAIN TITLE THEME MUSIC

By Jon Burlingame

A MAIN TITLE SEQUENCE is often the only part of a show in which music can take center stage, and usually for just a minute. But it can also be the biggest challenge for a composer, who must somehow encapsulate the ideas, the story, the characters and the milieu of a series. This year, the Television Academy nominated six main title themes by five different composers. They range from big-band jazz to serious symphonic composition, from theater organ to analog synth sounds and even classic hip-hop.

CARNIVAL ROW DEFENDING JACOB (Amazon) (Apple TV Plus)

A few years ago, composer Nathan Barr found, bought and lovingly restored a 1928 Wurlitzer pipe organ that had once occupied the 20th The mood of this limited-series adaptation about a family torn Century Fox scoring stage. With “Carnival Row,” the Victorian-era fan- apart when their 14-year-old son is accused of murder is dark and tasy about mythical creatures fleeing war and prejudice, Barr found the disturbing, so Icelandic composer Ólafur Arnalds matched it with perfect vehicle to showcase the instrument. “The filmmakers were con- melancholy music. “We didn’t want to convey the show as a standard stantly telling me to add more organ because they loved its grand and whodunit,” he explains. “It happens in a suburban neighborhood, so unusual sound,” he says. The music is Barr’s theme for Philo (Orlando I didn’t want to make it too ethereal. It should have some electronic Bloom), the series’ tortured hero. Against images of fairies and other beats, something that connects us to a city, but at the same time be mystical beings, along with a 19th-century zoetrope depicting a cen- mysterious.” A string quartet, analog synthesizers and drum machines taur in motion, Barr played the organ while his assistant Harry Risoleo play the 75-second piece. Arnalds originally intended to score the added a virtuoso violin solo and a nine-voice women’s choir sang. entire series but he left the project and only later saw the visuals (knife, sneakers, road, leaf, fingerprint, schoolroom, shadows of the family) that eventually accompanied his music. CARNIVAL ROW: JAN THIJS/AMAZON STUDIOS; DEFENDING JACOB: APPLE TV+ DEFENDING JACOB: STUDIOS; THIJS/AMAZON JAN ROW: CARNIVAL

14 VARIETY HOLLYWOOD: SAEED ADYANI/NETFLIX; UNORTHODOX: ANIKA MOLNAR/NETFLIX; WHY WE HATE: DISCOVERY CHANNEL; WU-TANG: AN AMERICAN SAGA: CRAIG BLANKENHORN/HULU layer butharmonically denseandcomplex, soyou canwindupsinging mountainsof(lynchings, skulls). terrorism, Karpman ultimately wrote ofhatred asportraits photos arerevealed in whichseeminglyinnocent hope,human condition —optimism, sorrow, life,” death, says composer (also nominated for(also nominated seriesscore limited for isthisyear’s “Hollywood”) surprisingly authenticsoundingsynths).With threeEmmy nods, Barr the perfect accompaniment to shots of the cast scaling the Hollywood accompaniment toshotsofthecastthe perfect scalingtheHollywood Ryan Murphy andIanBrennan’s Tinseltown limited alternate history Golden Top andhisthemefor themetoopen aspiring service-station The six-part docuseries needed a theme “that somehow captured the somehow the atheme“that captured The six-part needed docuseries Laura Karpman. She was inspired by the minute-long title sequence, titlesequence, Laura Karpman. bytheminute-long Shewas inspired movie business, Nathan socomposer aswingband Barrconsidered sign, emergingtriumphantat thetop.sign, “Ilove Hollywood old-school insisted that an orchestra of real musicians (not synths or samples) thatinsisted musicians (notsynthsorsamples) anorchestra of real actor Jack(David Corenswet) close. for “Itwas thestring-drenched it butyou would never know what’s going onunderneath.” Andshe a theme that “had no beginning and no end, very simple on the top simpleon thetop very andnoend, a themethat “hadnobeginning and ’40s jazz, so this was a dream comeand ’40sjazz,sothiswas true,” adream hesays. his Heused series is about outsiders trying tomake itinthepost-World outsiderstrying series isabout War II Barr’s 50-second theme(played brass players byamixofreal and perform it, because theseries“goes because deep. it, too perform You can’t talkabout human beings without using them. It’s without usingthem. human beings thesoul.” muchabout too the glamour, that everyone’s thedream pursuing,” that inspired most-nominated composer. (Discovery Channel) Channel)(Discovery WHY WE HATE WE WHY HOLLYWOOD (Netflix) it. They’re notjust They’re sound design.”it. Setagainst images bullets, ofdrugs, “since itwas hip-hop, Ihadtheprivilege toaddascratch andeffects to trackplaying (similartoWu-Tang’s anenergeticthe drum tempo first Orthodox Judaism. Gambale specifically avoided specifically Hebraic-sounding Gambale Judaism. Orthodox versions, felt andeveryone thisonewas thecoolest.” with Hestarted are somany electronicelements, foreshadowing whereshewould “My first take was thiselaborately orchestrated piece, butitwas too and classical-sounding music as, he points out, there was already and classical-sounding therewas musicas, already out, hepoints also wantedittofeature Berlin;that’s somethingabout why there feel therewas asenseofdrama,tensionandexcitement, because dramatized history of the ’90s hip-hop group, but he also scored it. group, ofthe’90ship-hop buthealsoscoredit. dramatized history go.” Stringsandsynthsplay histhemefor Esty (ShiraHaas)aswe turntables, the60-second andkung-fu piece bees action, becomes hit “Protect Ya voices, added orchestra and then, sampled Neck”), big for theshow,” says Wu-Tang’s founder. “SoImadethreeother producers AnnaWingerproducers andAlexa wantedto Karolinski: “They the story hasanelementofchaseandintrigue,”the story hesays. “They The RZA was not only co-creator andexecutive The RZAwas not onlyco-creator ofthis producer watch animated white lines simulating the eruv boundaries of of watch boundaries whitelinessimulating animated theeruv The shortest main title of the six (just 25seconds) was written maintitleofthesix(just The shortest by Antonio Gambale, an Australian-Italian composer based in anAustralian-Italianby AntonioGambale, in based composer Paris, fromexecutive instructions specific working fromvery WU-TANG: AN AMERICAN SAGA “scaled-down hip-hop,”“scaled-down headds. plenty of both intheseries.plenty ofboth UNORTHODOX (Netflix) (Hulu) VARIETY 15 PERFECT UNION

done in person,” Sykes was a no-brainer for the role because “Wanda in and of her own style is amazing and just carves it out for herself and is so funny and so sharp.” “You have to be able to do [what] we call the Palladino pace. It’s a very fast show. With Wanda, that was never going to be an issue,” Tolan contin- ues. “And also with Wanda as a stand-up comic, you just knew that she would have the stamina to do whatever Amy needed her to do. Because Amy and Dan are so famous for their one shots and one takes so the person needs the stamina to LIVE FROM deliver that over and over and THE APOLLO Wanda Sykes over again if they don’t get it, performed and not be fazed by that.” standup comedy Although it wasn’t fully clear as Moms Mabley in the third what Sykes’ role exactly would season finale of be when she signed on, she “The Marvelous ended up in pivotal moments in Mrs. Maisel.” the third season finale. Part of the performance required her to step on stage — at the Apollo Theater, no less — and perform Mabley’s words. But part of it was also about peeling back a layer on Mabley as cameras fol- lowed her out of the spotlight and into a backstage interac- tion with the titular comedian (Rachel Brosnahan). “It was the off-stage part Instead, Sykes got a call that I had to really think about,” from her agent who told her Sykes admits. “We know that Reimagining an series showrunners Amy she did have a different life Sherman-Palladino and Dan- off-stage. And I know how that iel Palladino wanted to do an felt: you’re being authentic and episode that featured the vet- saying what’s on your mind, Iconic Comedian eran performer. Sykes hopped but then there’s this other lit- on a phone call with Sher- tle thing that you’re keeping for WANDA SYKES & CINDY TOLAN man-Palladino, during which yourself.” ‘THE MARVELOUS MRS. MAISEL’ the two discussed their histo- Sykes most wanted to cap- ries in the business and Sykes’ ture Mabley’s “boldness and By Danielle Turchiano “passion” for Mabley’s work, joy,” in addition to her cadence the actor says. and mannerisms for the “I want to give Moms more stand-up performance. To aid credit and hopefully expose with this, she listened to a lot her to more people. They of Mabley’s real-life material. should know her,” Sykes says. Then, it was just a matter of “I had to nail this. I had to do stepping out onto that real-life it for Moms.” Apollo stage, which Sykes says Now Sykes is nominated elevated the experience. CASTING DIRECTOR CINDY TOLAN (Emmy-nominated for the for the role in the guest “After that first take every- comedy actress category at body was genuinely laughing. third consecutive year for “The Marvelous Mrs. Maisel”; she the Emmys. And after Amy said cut, they won in 2018) has often had to hire actors to embody real-life icons Although Tolan says jumped up and were laugh- in the stand-up comedy world. But when it came to bringing Moms more often than not the Pal- ing and it was so cool because ladinos “would love to see it was my people: an African Mabley to life in the third season of the Amazon Prime Video show, every single person in the American audience. And that Wanda Sykes came aboard without ever meeting Tolan. world [audition] and have it was Moms’ audience.” AMAZON STUDIOS AMAZON

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WITH THE VOTING DEADLINE RIGHT AROUND THE CORNER, VARIETY EXPLORES THE TELEVISION ACADEMY’S STRIDES WITH REPRESENTATION AND BREAKS DOWN THE ODDS TO WIN IN A FEW KEY RACES.

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JOHN MULANEY By Jenelle Riley JEFFREY NEIRA/NETFLIX JEFFREY NEIRA/NETFLIX

VARIETY 21 CONTENDERS: IN CONVERSATION

Tiffany Haddish and John Mulaney met as flaccid penis and I would put it on I said, “I’m just going to in my pants and go to the com- be confident in what I think young comics at the Improv in Los Angeles and edy club with it in there. I was is funny and hopefully peo- have shared a mutual admiration ever since. 23, 24 at the time and I felt ple will go along on this jour- Both are previous Emmy Award winners; Haddish for more confident and it felt to ney.” And that’s when I found me like the men were treating my voice. hosting “Saturday Night Live” and Mulaney for writing me like I was one of the boys. a song for “SNL” and his standup special “John Mu- MULANEY: I really like that a Because of your specific laney: Kid Gorgeous at Radio City.” Now the pair find flaccid penis made you con- voices, how did you know your fident when there’s a whole specials would work? themselves going head-to-head in the variety special industry about men not being MULANEY: I pitched the concept (pre-recorded) category — Haddish for her Netflix confident because of their flac- to Netflix with a few exam- standup special “Black Mitzvah” and Mulaney for the cid penises. ples. I said, “It’s going to be HADDISH: Even though it was a kind of like ‘3-2-1 Contact’ or same streamer’s “John Mulaney & the Sack Lunch fake penis, it seemed like peo- ‘Sesame Street’ and have that Bunch,” which also scored him a nod in the variety ple had more respect for me. sensibility of the Shel Silver- writing category. Just from my walk, my energy. stein books that are a little Then one day we were in the dark. We’ll have songs about At the peak of their careers, the two took time to talk parking lot in a group and I how one kid only wants to eat to Variety about the state of comedy today, casting Jake was wearing baggy pants and I noodles and a thing with Rich- Gyllenhaal and how a fake penis helped Haddish find started doing a little dance and ard Kind called ‘Girl Talk.’” it fell out of the bottom of my Now, I have a great relation- her voice. pants. And people were like, ship with Netflix — I’ve done “What are you walking around three specials with them — and with a fake plastic dick for?” I’ve never seen people’s excite- MULANEY: Which is a legitimate ment fall so fast when I started question, I’m on their side here. describing these things. Also, HADDISH: And from that point the first person I said I wanted

You’ve known each other a You both have such specific long time; do you remember voices as comics; how did you your first impressions of each develop that? other? MULANEY: I feel like now on JOHN MULANEY: Before I had stage I talk the way I really a long conversation with think — the way I talk in my you, I saw you onstage a lot. head. When I started, I was You were good right away trying to be a lot of differ- — did you have a past life ent people so it wasn’t right where you were doing sets? I away. I’d be in, like, Nash- would watch and I’d be like, ville trying to pretend I was “I should stop.” Because it’s gonna get wasted with every- so boring when I talk; it’s as one and then pass out in the exciting as Triscuits. Kroger parking lot and it was TIFFANY HADDISH: I remember just clear I was not one of the when I first met John I was boys. As soon as I moved away like, “He has to be the smart- from that, it got a lot better. est guy I’ve ever met.” He And some of the things I was always looks clean-cut and nervous about were the things sophisticated like he might that later became popular. be a scientist or a master- HADDISH: I started in 1997 mind at investments. Or he when I was a teenager at the could be a Jehovah Witness, comedy camp at the Laugh I don’t know. But I wanted to Factory. I definitely had a know him. voice, but I didn’t know what MULANEY: It’s funny you the hell I was doing. I was just thought I was smart. I think throwing stuff up against the by dressing as my dad I think wall and trying to see what I look kind of smart. But if worked. And for a period of you went on a weekend trip time — for like five years — I with me you’d be like, “This tried to dress like a man so is the dumbest son of a bitch I could be a part of the boys’ ever. He doesn’t know how to club. I even did a podcast do basic things!” where somebody gave me a CHRISTOPHER POLK/FOX POLK/FOX CHRISTOPHER

22 VARIETY was Dick Gregory and they’re if somebody else isn’t comfort- like, “Well, he’s dead.” able, it’s not my problem. I try HADDISH: Did you know I to talk about things from my thought Dick Gregory was my perspective, my point of view, grandpa for so many years? and if it offends someone, it’s My grandma said, “When on them. you meet Dick Gregory, you MULANEY: I think about every tell him I said hello.” In the single syllable before I say it ’50s, she was a model on TV out loud. and would be at events and knew him and so in my mind, Are you being serious? she was telling me to say MULANEY: I’m kind of hello because that’s my real half-serious. grandpa. But it’s not true. HADDISH: That’s why he’s MULANEY: I wasn’t kidding, smart as hell! he was my first choice. I just MULANEY: Also, I’m the enemy. didn’t know he was dead. HADDISH: You are not! MULANEY: Well, my dad is. Lis- Jake Gyllenhaal is more ten, I try to learn and do the unhinged in this special than in work and use my platform for “Okja,” and that’s saying a lot. social justice. What a weird MULANEY: Jake Gyllenhaal has time when I say such formal been my favorite actor for a sentences like that! If I was couple years and when the criticized for a joke I made, I director and I were talking feel like it’s O.J. [Simpson] in about him for Mr. Music, I Vegas. White dudes have been said, “Have you seen ‘Okja?’ running amuck for so long, if He can really make a choice.” it’s twice the blowback from We never told Jake but on set something that used to not one day after a really crazy get criticized, there’s a reason take he said, “I feel like this is for it and it’s not about steal- a sequel to ‘Okja!’” ing memorabilia, it’s about something else. I do think a Tiffany, in your special, you do lot of the recent controversies an amazing physical bit about about some comics have been the world’s laziest stripper. more cooked up by right-wing At the same time, you have to MULANEY: It was a good heckle, How did you perfect that bit Republicans. So don’t listen to be willing to try new things it was. and know it would work? the mob, but respect the mob. and to fail. Tiffany, in your spe- HADDISH: I did it in front of a Be prepared to apologize, but cial you address bombing at What do you think the future bunch of audiences. And it’s don’t give into them. your big New Year’s Eve show. of standup comedy looks like? just a funny concept; there are HADDISH: There’s success in Are you missing it? some very lazy strippers. And Do you have jokes you all my failures. If you really HADDISH: I miss it terribly. I it doesn’t matter what kind of regret or wouldn’t pay attention to everything I think we’ll get back to live job you have, there’s always say today? talk about, they’re all fails in shows and it will be hard to someone who’s lazy as hell! HADDISH: I don’t regret any life. But I turn them into wins. hear people laughing because of my jokes but I’m going to Because I’m not afraid to talk they’re wearing masks. And I Are there lazy comics? go with yes as well because I about my mistakes and would think it’s going to be outside, HADDISH: Fuck yeah was immature, so I wouldn’t encourage others to talk about so maybe more in the daytime. MULANEY: There’s actually only do them today. Maybe I would failures because how is any- MULANEY: I agree, there’s now one who’s not lazy. rewrite them a little bit to grow one going to grow and get bet- going to be more outdoor it up. I had some immature stu- ter if others don’t share their shows. We’re in a time where peo- pid shit. I was dumb; I was 20. mistakes. HADDISH: I’ve been doing Dave ple are attuned to being more MULANEY: I had that thing of, Chappelle’s shows in Yellow sensitive in their comedy; do “I’m a progressive person so John, what’s been your worst Springs, Ohio. There’s 200 you find that makes you more I’ll make fun of racism and experience onstage? people sitting in chairs 6 feet cautious? homophobia!” This happens in MULANEY: It’s not the worst, but apart in cornfields. They’re HADDISH: I feel like people are sketch comedy a lot where you recently I was in Murfreesboro, held in cornfields and Christ- always trying to cancel some- make fun of it by showing it. Tenn., at an outdoor show and mas tree fields. You know body for what they’re saying It’s a phase, at least in my gen- a campground and a heckler plants — they respond to and I personally believe it’s eration, where you say, “I’m yelled out, “I believe I speak sound, and they’re hearing all about your intentions. Is it making fun of those things!” for everyone here when I say I this laughter. These are going coming from a good place or Yeah, but you just put the words would enjoy silence more than to be the best Christmas trees to be vicious and malicious? I on TV. I feel like I can say the sound of your voice.” and the most delicious corn feel like I can talk about any- confidently I’ve moved well HADDISH: I would have been ever. They’re hearing joy and thing I’m comfortable with and beyond that. like, “Mom, is that you?” laughter. KEITH MAJOR

VARIETY 23 CONTENDERS REPRESENTATION IS NOT EQUAL FOR ALL

BLACK PERFORMERS RECEIVED A RECORD NUMBER OF EMMY NOMS THIS YEAR, BUT OTHER MINORITIES WERE STILL LEFT OUT OF THE AWARDS CONVERSATION

By Danielle Turchiano

FOURTH TIME’S THE CHARM Issa Rae (left) and Yvonne Orji both picked up acting noms for “Insecure,” and the show scored a coveted comedy series ballot slot too.

THERE’S A disparity scenes, the Television Academy of Change. “I don’t want to dis- Nothing can be Emmy-nom- among nominees of only nominated 12.5% people count what it means for Black inated without having first been color on the Emmy bal- of color in the narrative writ- performers to be recognized in greenlit by the larger television lot this year, which can be traced ing categories and 14.2% in the ways that they should be recog- industry. While there have been to a larger disconnect within the directing categories, and when nized and to have opportunities some more new series that fea- industry, and society at large. it came to series nominations, for their work to be seen and ture Black characters in the The Television Academy only one came from a per- appreciated and respected the past year, from Netflix’s “Self nominated a record number of son of color in the showrunner way it should be. But I do think Made: Inspired by the Life of Black performers (34.3% of the position. that what we have to recognize Madam C.J. Walker” to OWN’s 102, including double nomina- “People are voting inside of a is that we can’t mistake pres- “Cherish the Day” and BET’s tions for singular performers media climate and some of the ence for power. Power is the “Sistas” and “Twenties,” there Sterling K. Brown, Giancarlo protests have made white peo- ability to change the rules. Pres- are still select few that come Esposito and Maya Rudolph). ple who are part of the nomina- ence is not bad, but when we from or feature the API or Mus- But other non-white perform- tion process think differently mistake presence for power, we lim perspective. With the for- ers, including Latinx and API, about how they were making can sometimes think something mer, ABC’s “Fresh Off the Boat” only made up 5.88% of nom- decisions,” says Rashad Robin- has happened that hasn’t actu- ended its run in spring — with- inees combined. Behind the son, executive director, Color ally happened.” out being nominated even once MERIE W. WALLACE/HBO MERIE W.

24 VARIETY at the Emmys; with the latter, Dreadful” came in with a “City of Hulu’s “Ramy” picked up acting Angels” season that also heavily and directing nods this year, the featured Latinx characters. first for the series. “As we think about API and “Our show is the first show Latinx communities and the dis- that’s explicitly looking at an mal representation they have on Arab Muslim family and their television and at awards shows, I traditions, but Aziz [Ansari] is do think in so many ways it illus- Muslim and had a Ramadan trates a supremacy in terms of episode [on ‘Master of None’],” who’s in charge, what is normal Ramy Youssef acknowledges. and what is additive,” Robinson (“Master of None” picked up says. “It’s like, ‘Oh we’re going to 12 Emmy noms between 2016 do something for this commu- and 2017, including for com- nity this year,’ but even the act edy series, but the episode of doing something for someone Youssef is referencing, “Reli- else creates who is mainstream gion,” did not score any indi- and who is [on the] margins — vidual attention.) “The leaning who is inside and who needs to into the ‘first’ is something be let in.” we’re excited about, but what I Sarah Kate Ellis, president SOPHOMORE SLUMP hope it does is say to the indus- and CEO of GLAAD, says the Billy Porter (left) try, ‘Hey we need seconds and organization has “never been nabbed a second consecutive lead thirds; this isn’t enough.’ There busier” with the number of drama actor nom for are so many stories that need to “content creators [who] want to “Pose,” but voters be told.” be more inclusive.” And there did not celebrate any of the trans actors, But in some cases, those were important LGBTQIA+ nods including lead stories are already being told, this year, such as to “Schitt’s actress MJ Rodriguez. Academy voters aren’t watch- Creek” co-creator Daniel Levy, The show also fell off the drama series ing them — or they are watching who nabbed supporting com- ballot this year. but not connecting with them edy actor, writing, directing immediately. and a second consecutive com- “People watch what others edy series. Laverne Cox drew tell them to watch, especially a fourth guest actress nom with shows of color — especially for “Orange Is the New Black” early on,” says “Insecure” show- and Rain Valdez broke into the runner Prentice Penny. “A lot short-form performance race. of people who tell me they love But there was a notable decline “WHEN YOU show,” Prentice says, adding awards season. ‘Insecure,’ the next line is, ‘I for an inclusive series voters DON’T CREATE he would like to see more view- “Sometimes you see stuff didn’t think I was going to like embraced in its first season — THE ROLES, ers and voters “get out of their that gets nominated and it’s it.’ We self-identify immediately FX’s “Pose,” which only picked YOU DON’T comfort zone [and say], ‘Let pretty clear [why]. It’s like, ‘I off what the visuals are — and up one major nom this year, for CREATE THE me look at these shows that saw a billboard everywhere I if you don’t know the actor and lead drama actor incumbent OPPORTUNITY are on networks that I wouldn’t walked.’ Those nominations are they don’t look like you, you have winner Billy Porter. FOR PEOPLE normally tune into to expand like the results of a hostage sit- to really [make an effort] to give “‘Pose’ is essentially a story myself.’ It’s getting out of uation. I get it,” says Youssef. TO HAVE NAME this thing a shot that you think about the trans community that bubble.” Part of GLAAD’s work these RECOGNITION, you may not respond to.” in New York City [but] not one But before voters can get out days includes buying awards HBO’s “Insecure” broke into trans person [on this show] was AND WITHOUT of a bubble, the larger system ads and doing “sustained cam- the comedy series race this nominated for an Emmy. And NAME has to. paigns” to promote LGBTQIA+ year for the first time — in its it doesn’t have to be either/or. RECOGNITION Youssef notes that “because shows, says Ellis. fourth season. It can be both,” says Ellis. “We IT CAN BE there haven’t been a lot of Ara- “It’s unfortunate that a not- Series that centered Latinx know we can’t move culture HARD TO bic roles that are prominent” for-profit has to elevate mar- points of view during the 2019- forward and we know we’ll con- GREENLIGHT there was also not the chance ginalized communities and 20 Emmy eligible television sea- tinue to live in a very dangerous SOMETHING.” to create many Arabic stars on voices — that these big studios son but didn’t draw TV Academy and hostile society without that American television. “When you that are profiting off of them attention ranged from NBC’s coming from Hollywood.” Ramy Youssef don’t create the roles, you don’t are not doing that,” she contin- long-running “Superstore” to The names attached to a create the opportunity for peo- ues. But “we know the power of fan favorite “One Day at a Time” series — from A-list actors to ple to have name recognition, these awards. We know those (now on Pop), the final season recognizable writers, produc- and without name recognition it who are elevated with awards of Starz’s critical darling “Vida,” ers and directors — have histor- can be hard to greenlight some- recognition receive increased new Netflix projects “Gente- ically carried significant weight thing. So it’s this weird cycle.” access and opportunity. And fied” and “Mr. Iglesias” and the with voters, leading to many Breaking that cycle includes then these are the projects that short-lived “The Baker and nominations. putting significant advertising go on to be studied [by] the next the Beauty” (ABC) and “Party “You’re as famous and as and marketing dollars behind generation of filmmakers and of Five” reboot (Freeform). successful as the careers of the these shows and performers at prove the success of concept. Showtime’s anthology “Penny people who are attached to the the launch, as well as during The visibility matters.” MICHAEL PARMELEE/FX

VARIETY 25

CONTENDERS TALK SHOWS GO ON — BUT REMOTELY

INSIDE THE MANY CHALLENGES OF EMMY-NOMINATED VARIETY TALK SERIES’ PANDEMIC-FORCED PRODUCTION PIVOTS

By Rob Owen

THE 2020 EMMY- February, before the officialcial stay-stay- NEW LOOK, PrashanthPrasha Venkataramanujam, and adjusted to a new way of NEW NAME, nominated variety talk at-home orders and productionduction SAME SMARTS though,though because he sent an email working. series — Comedy Cen- shutdowns, Tanya Michnevichnevich “The Daily Show to a grgroupo of late-night showrun- “We had a virtual control tral’s “Daily Show With Trevor Bracco, supervising producerducer With Trevor ners wwhoh often get together for room a couple weeks in,” Licht Noah” is being Noah,” TBS’ “Full Frontal With and executive in charge, broughtbrought dinnerdinner that said, “What now?,” says. “The director’s at his home, temporarily Samantha Bee,” ABC’s “Jimmy up the scenario that a spreadread called “The Daily which lled to everyone talking calls the shot. The [technical Kimmel Live,” HBO’s “Last Week of the virus could mean ttheyhey Social Distancing and comparingcom notes, collabo- director], on her laptop [in her Show.” Tonight With John Oliver” and wouldn’t be able to come to work.work. ratingrating ratherr than seeing each home], could switch the shot.” CBS’s “Late Show With Stephen “I was like, ‘That’s ridicuicu- other’sother’s shows as competition. Overcoming the challenges Colbert” — all had to quickly lous,’” Licht says. “To herr crecreditdit “That“Th has been so incredibly of remote production has been pivot at the onset of the COVID- and to the credit of the restest ooff helpfulhelpful because there are so few a step-by-step process, says 19 pandemic. This came with a my senior staff, they didn’tn’tl lisis- people on the planet who knew Alison Camillo, executive pro- one-part content adjustment to ten to me. They actually made exactly what we were going ducer, “Full Frontal.” Though balance discussion of the virus contingency plans and moved through,” Licht says. one area that hasn’t been a big and how the government was forward as if we’d have to leave The answer to “What now?” adjustment has been work- handling it into their programs, the [Ed Sullivan] Theater and became, “The show must go on ing with hosts: The rapport but it also included a severe pro- eventually do the show remotely — but remotely.” This meant remains, but rather than face- duction change, as the hosts had and that’s why we were in a they needed to get the proper to-face contact, everything is to set up at-home studios. really good spot.” software and equipment in done on FaceTime or Zoom, or “Late Show” executive pro- Licht also credits “Patriot Act place, as well as get the rest of via text. ducer Chris Licht says in late With Hasan Minhaj” showrunner the show’s personnel on-board “Full Frontal” produced a COMEDY CENTRAL CENTRAL COMEDY

26 VARIETY few of “Beeing at Home” online shorts from the woods outside Bee’s upstate New York home as a proof-of-concept for them- selves and TBS executives. “Sam wanted to do it out- side,” Camillo says, noting that once the location was set the team faced more questions. “Can Sam upload from her house? Can we get a prompter on an iPad for her to rig up with what they have at the house? [Exec producer] Miles Kahn loaded up a truck with equip- ment, put on a mask, dropped it all on their lawn and ran.” One of the earliest challenges “The Daily Show” faced was how to adapt the show to the lack of an audience. “We had to look at graphics and how to move the pace along so it doesn’t just sound like he’s in a cavernous place with no laughter,” says showrunner Jennifer Flanz. Jokes that might elicit a PERSONALITY POPS groan from the studio audience Samantha Bee has been became OK to do without an broadcasting from the woods outside her audience. The show added con- house in New York, versation gags in which Noah while Stephen Colbert plays two characters talking showed off his more casual side at home. back-and-forth, including Noah-as-Donald Trump talking to Noah-as-former President Obama. “We don’t do that in our nor- mal show in front of the audi- ence,” Flanz says. Additionally, “The Daily Show” went from 35 minutes to 45 minutes after remote broad- casts began, to keep from cut- ting guest segments short. Longer episodes also allow more breathing room for the show’s six correspondents. Similarly, “Full Frontal” length- ened segments by “three or four months in. Bee upgraded from “WE CAN’T that chance? So we’ll still do the Ed Sullivan Theater is kind minutes,” Camillo says, because an iPhone 10 to an iPhone 11 to GO BACK TO it remotely and then take into of a sacred place where you before pivoting to remote pro- shoot the show, the team added THE STUDIO account that there’s going to be have this relationship with an duction, their team “never real- color correction elements UNTIL WE CAN a blizzard at some point before audience,” Licht says. “It’s more ized how much time audience after a batch of episodes were GUARANTEE there’s a vaccine.” than a studio, and I don’t think laughter takes up.” already done, and soon they On Aug. 10, “The Late Show” we want to go back there until PEOPLE ARE Flanz praises the show’s edi- will also face winter weather in returned to a studio setting, we can be with the audience.” SAFE.” tors as one of the keys to the an outdoor setting. though not its usual home, for Neither “Full Frontal” nor remote broadcasts, nicknamed But, these are all challenges show tapings. A makeshift set “The Daily Show” have return Alison Camillo “The Daily Social Distancing worth facing for the greater was built to resemble Colbert’s dates set yet. Show.” “The show is so heav- good, notes Camillo. office in an auxiliary studio in “We’re just trying to be safe ily edited right now and they’ve “I know Sam feels this way, the office building that houses for everyone and consistent for been so creative and innovative too, we can’t go back to the the “Late Show” offices, which the audience,” Flanz says. “If we in how the show is being pre- studio until we can guaran- remain largely empty as the go back and someone gets [the sented,” she says. tee people are safe,” she says. majority of staffers continue to virus], then we’re back at home However, technical chal- “We’ve figured out how to do work from home. for two weeks from Trevor’s lenges still abound, even the show remotely, so why take “This might sound weird but apartment again.” FULL FRONTAL WITH SAMANTHA BEE: TBS; LATE SHOW WITH STEPHEN COLBERT: CBS CBS COLBERT: WITH STEPHEN SHOW BEE: TBS; LATE WITH SAMANTHA FULL FRONTAL

VARIETY 27 RACE ANALYSIS: VARIETY SKETCH SERIES

‘Saturday Night VS. ‘A Black Lady Sketch Live’ Show’ NBC HBO

PERENNIAL PLAYER From left to right: Cecily Strong, Adam Driver and Mikey Day in “Saturday Night Live.”

NEW COMEDIC VOICES Quinta Brunson (left) and Robin Thede in “A Black Lady Sketch Show.”

Has variety sketch peaked? This year’s Emmy category got caught in the rule change that limited the number of nominations in proportion to the number of contenders submitted — and with just 14 entries, that meant only three ballot slots. Several of last year’s nominees (“Documentary Now,” “I Love You, America Michael With Sarah Silverman” and “Who Is America?”) weren’t eligible in 2020, while “At Home With Amy Sedaris” Schneider didn’t make the cut, leaving room for returnees “Saturday Night Live” and “Drunk History,” and newcomer “A Black Lady Sketch Show.” With previous nominees such as “Portlandia,” and winners “Key & Peele” and “Inside Amy Schumer” also long gone, variety sketch could be at a crossroads. NBC’s “Saturday Night Live” is looking for a fourth consecutive win, but keep an eye on upstart “A Black Lady Sketch Show,” from HBO.

THE CASE FOR “SATURDAY NIGHT LIVE” THE CASE FOR “A BLACK LADY SKETCH SHOW” “Saturday Night Live” wasn’t much of an Emmy player for most As powerful as “Saturday Night Live” is, it hasn’t always won the of its run, having landed just 14 nominations during the entire variety sketch race, which was launched in 2015, when variety decade of the 1980s, and 29 in the 1990s. Things didn’t really series was split into separate sketch and talk categories. “Inside take off for the show until the late 2000s, when the Emmys began Amy Schumer” and “Key & Peele” won in those first two years, allowing “SNL” performers to compete in the comedy acting cat- and “A Black Lady Sketch Show” could very well give “SNL” a real egories. That, along with an increased interest in “SNL’s” political challenge. The critically acclaimed HBO comedy was created by impact during the 2008 presidential campaign, set the show on a Robin Thede, breaking new ground as one of the first sketch com- new Emmys course that continues to this day. “SNL” is now eas- edy series created by and starring Black women. Not only is Thede ily the most-honored broadcast TV show at the Emmys, with 15 making history, but so is “A Black Lady Sketch Show” director Dime nominations overall this year. That brings the show to 285 nom- Davis, nominated in the variety directing category. The show’s third inations in its history — the most ever for a program (with sec- Emmy nomination went to Angela Bassett, as guest comedy actress ond place “Game of Thrones” far behind at 161). Creator Lorne for the appropriately titled episode “Angela Bassett Is the Bad- Michaels continues to add to his record as the most-nominated dest B***h.” Adding to the buzz: Besides Thede, the show’s exec- individual ever, with 91. “Saturday Night Live” remains a power- utive producers include Issa Rae, who has also caught the serious ful pop culture force, and the show’s at-home pandemic episodes attention of voters thanks to her HBO comedy “Insecure.” If Acad- only amplified that. emy members are looking to shake things up this year, it feels like a good time to recognize “A Black Lady Sketch Show.” SATURDAY NIGHT LIVE: WILL HEATH/NBC; BLACK LADY SKETCH SHOW: HBO SHOW: SKETCH LADY BLACK NIGHT LIVE: WILL HEATH/NBC; SATURDAY

28 VARIETY CONTENDERS VARIETY’SVARIETY CATEGORY BREAKDOWN TALK SERIES

The Daily Show With Seeing its third consecutive nom, Full Frontal With This is Bee’s fourth consecutive nom- Trevor Noah this basic cable mainstay has Samantha Bee ination for her midweek cable series, Comedy Central adjusted its format in recent weeks TBS and she continued to make head- and just announced it will tackle five- lines not only for being an underrep- nights-a-week programming lead- resented voice in late night but also ing up to November’s election, all for the truly unique way she pivoted of which gives it a boost of visibil- production amid the coronavirus pan- ity during key voting time. Host Noah demic. Broadcasting from the woods has also put a recent focus on speak- (literally) and experimenting with ing about timely issues, including more segments and the occasional police reform. His lengthening ten- musical guest in addition to her ure at the program, which previously always stinging monologues breathed won when Jon Stewart was at the new life into the genre. Her ability to helm, could lend new allure as well. wrap tough issues in levity while put- ting her heart on her sleeve may give Bee momentum.

Jimmy Kimmel Live! The host of this year’s Primetime Last Week Tonight With A four-time consecutive winner, ABC Emmy Awards has been nominated in John Oliver including last year, this lone premium this category for the past nine years HBO cable series still seems the one to but has yet to win. His usual hour- beat simply because sometimes the long program was cut in half for the familiar is comfortable, especially at-home edition, during which he in uncertain times. But also, Oliver’s shined as great a spotlight on his weekly deep dives into a single topic family as he did on celebrities pro- and long-preparation pranks make

: TIMOTHY KURATEK/CBS : TIMOTHY moting projects. With guest hosts the series hard to resist. In his cur- stepping in for him this summer, rent season, he examined everything he may slip further off the voters’ from facial-recognition technology radar while they are casting ballots, and the role of sheriffs in the U.S. to though. He seems like a long shot for talk-show host Wendy Williams. the win.

The Late Show With Seeing its fourth consecutive nomi- nation, the Eye network’s entry in the

LIVE: JEFF LIPSKY/ABC; LAST WEEK TONIGHT: HBO; LATE SHOW LATE HBO; WEEK TONIGHT: LAST LIVE: JEFF LIPSKY/ABC; Stephen Colbert CBS category moved from the Ed Sulli- van Theater to host Colbert’s home to a smaller studio over the past few months, making headlines despite more hushed presentations. And he has continued to play up newsmak- ers, journalists and artists over celeb- rities in recent weeks, a dynamic that surely has voters talking. This one should not be counted out just yet. DAILY SHOW: COMEDY CENTRAL; FULL FRONTAL: PETER YANG/TBS; JIMMY KIMMEL PETER YANG/TBS; CENTRAL; FULL FRONTAL: COMEDY SHOW: DAILY

VARIETY 29 CONTENDERS VARIETY’SVARIETY CATEGORY BREAKDOWN SKETCH

SERIES A Black Lady Sketch Show The first season of the premium HBO cable sketch series centered on Black women’s stories, which is a rarity for the genre, let alone the medium overall. Covering everything from a “bad bitch” support group to a take on “Romeo and Juliet,” all the individual sketches stood on their own in style, humor and commen- tary. But the show also did something unique in weaving a narrative about friends sheltering in place during an apocalypse through every episode, too. That feels extra timely now and could give it a bump in votes.

Drunk History Nominated consecutively since 2015, Saturday Night Live The 45th season of the broad- Comedy Central this cable series is back on the bal- NBC cast late-night series brought in lot once again after a season that big names (Jon Hamm, Lin-Manuel dove into inebriated reenactments Miranda, Larry David, Maya Rudolph of everything from Sam Cooke cre- — to name a few) to skewer politi- ating one of his hits to Hedy Lamarr cal candidates as the country geared working on airplanes to typhoid up for a major election. But then it fever. The show is a consistent per- had to pivot to at-home production former year-over-year, as evidenced during the coronavirus pandemic, by its constant presence in this cat- which opened up its creativity ten- egory. But unfortunately these days fold. It’s no wonder the incumbent that is not enough to stand out and winner in this category is the clear be celebrated. front-runner yet again. RY: COMEDY CENTRAL; SATURDAY NIGHT LIVE: WILL HEATH/NBC CENTRAL; SATURDAY COMEDY RY: BLACK LADY SKETCH SHOW: HBO; DRUNK HISTO HBO; SHOW: SKETCH LADY BLACK

30 VARIETY CONTENDERS VARIETY’SVARIETY CATEGORY BREAKDOWN SPECIAL

(LIVE) 73rd Annual Tony Awards This is the Tony Awards’ overall CBS 11th nomination (eight wins), com- ing back to this race for the first time since 2017. With “The Late Late Show” host James Corden at the helm of the ceremony it was a spec- tacle celebrating song and dance like no other — and appearances by lumi- naries such as Judith Light, Elaine May and the late Terrence McNally all aided in making it a night to remem- ber. After this year’s 74th annual event was postponed due to the coronavirus pandemic, some voters may be nostalgic and check this box, but likely not enough to be crowned victorious again.

77th Annual Golden One of the last awards shows to take Live in Front of a Studio Audience: Although “Live in Front of a Studio Globe Awards place, let alone in-person, before the ‘All in the Family’ and ‘Good Times’ Audience” is a franchise (and the NBC coronavirus pandemic shut down the ABC incumbent winner in the category), industry (and the world), the Golden this year’s installment felt brand-new Globes delivered an evening of less- in a lot of ways, from different play- biting-than-usual comedy from host ers in the cast, including last year’s Ricky Gervais and some less-than-sur- big Emmy winner Jharrel Jerome,

URO HOLMES/ABC; SUPER BOWL: LIONEL HAHN/ABACA/SIPA USA/AP IMAGES USA/AP LIONEL HAHN/ABACA/SIPA SUPER BOWL: HOLMES/ABC; URO prising wins. This is the HFPA’s awards to the selection of classic but still ceremony’s third consecutive nomi- timely scripts. Its combination of nation (10th overall), but it has never being a throwback to a simpler time won and is not expected to start now. while also asking the audience to reflect on how things have changed or not, plus the power of uber-pro- ducer Norman Lear, now the oldest Emmy nominee in history, make it a front-runner to win again

The Oscars The Academy Awards have been Super Bowl LIV Halftime Show Don’t underestimate the power ABC nominated 14 times since 2007 Starring Jennifer Lopez and Shakira of pop stars: Performances by (including this nod) but have never Lopez and Shakira were critically IN FRONT OF STUDIO AUDIENCE: ERIC MCCANDLESS/ABC; OSCARS: ART OSCARS: ERIC MCCANDLESS/ABC; AUDIENCE: OF STUDIO IN FRONT Fox won. This time around the ceremony acclaimed, much-tweeted about was host-less, which created a lot of and widely watched (with more than discussion around show length, tone 100 million total viewers tuning in). and energy, but the buzziest part was Although this was a surprise addi- “Parasite’s” big win, which had less tion to the ballot, for the past couple to do with the show’s production and of years Academy voters have opted more to do with the votes. So a win to honor something truly new in this feels like a long shot. category when handing out trophies in September, so this is a wild card that could turn into a spoiler. TONY AWARDS: JASON BELL/CBS; GOLDEN GLOBES: TODD ANTONY/NBC; LIVE ANTONY/NBC; TODD GOLDEN GLOBES: BELL/CBS; JASON AWARDS: TONY

VARIETY 31 CONTENDERS VARIETY’SVARIETY CATEGORY BREAKDOWN SPECIAL (PRE-RECORDED)

Dave Chappelle: The Kennedy Chappelle often stands on stage Dave Chappelle: A double nominee in this category, Center Mark Twain Prize for alone, delivering raw and unfil- Sticks & Stones comedian Chappelle’s hour-long American Humor tered takes on hot topics from rac- Netflix standup set commented on cancel PBS ism to police brutality, but in this culture, including the controversy special event, the comedian him- around Kevin Hart that led to his not self was sent up by a number of his hosting the Oscars. Chappelle never peers when winning the prestigious failed to get the audience thinking titular prize. An all-star line-up that and laughing, often simultaneously, includes Eddie Murphy, Morgan Free- and if one of his entries in this race man, Common and his own category has a leg up over the competition, competition Tiffany Haddish makes it is this one. But the chance of him this project worth a second look, but splitting votes with himself is very it likely wasn’t buzzy enough the first probable. time around for the win.

Hannah Gadsby: Douglas Back in this race for the second con- Jerry Seinfeld: 23 Hours Seinfeld is certainly no stranger to Netflix secutive year, Australian come- to Kill Emmy love, racking up Television dian Gadsby delivered an hour of Netflix Academy attention since his self-ti- standup that got just as personal as tled sitcom in 1991. So it was no sur- her inaugural one, but in some sur- prise that he scored another acco- prising new ways. She opened up lade, especially because this standup about living with autism, spoke out special was his first full-length one in about entitled white women and told decades. All his classic mannerisms, sprawling stories about her dog, for inflections and affectations were JEFFREY NEIRA/NETFLIX; JOHN MULANEY: NEIRA/ NETFLIX; JEFFERY SEINFELD: JERRY IN/ NETFLIX: whom this special is named. Truly on on point as he delivered a sermon the cutting edge of comedy, Gadsby, about the thin line between things who lost this race but won a writing being good or “sucking” and turned Emmy last year, could see the lens on his marriage. A sense of another trophy. nostalgia could give him a bump in votes, but he’s not a shoo-in for a statue just yet.

John Mulaney & the Sack Although Mulaney has scored Emmy Tiffany Haddish: Black A previous Emmy winner in the guest Lunch Bunch attention before, most notably for his Mitzvah comedy actress category, Haddish Netflix time writing on “Saturday Night Live,” Netflix sees Emmy attention for the first as well as winning the variety special time for her stand-up with this set writing statue in 2018 for a standup delivered in honor of her 40th birth- special, this is the first time he has day. Proving she just gets better with cracked into this category. His variety age, Haddish’s usual raunchy side hour was wacky and unexpected, fea- was mixed with genuine emotion and turing hilarious bits from child actors reflection as she opened up on stage and Jake Gyllenhaal alike. The songs about her heritage and why she per- within were stuck in everyone’s heads formed so terribly during a New for days after streaming. Somewhat Year’s Eve comedy show (which went of a surprise entry in the race, it is a viral). Haddish’s profile just keeps wild card for the win. continuing to rise, making her one to watch here as a potential spoiler in September. TIFFANY HADDISH: LARA SOLANKI/NETFLIX HADDISH: LARA SOLANKI/NETFLIX TIFFANY DAVE CHAPPELLE: KENNEDY CENTER HONORS: PBS; DAVE CHAPPELLE: STICKS & STONES: MATHIEU BITTON/NETFLIX; HANNAH GADSBY: ALI GOLDSTE HANNAH GADSBY: BITTON/NETFLIX; MATHIEU & STONES: CHAPPELLE: STICKS PBS; DAVE CENTER HONORS: CHAPPELLE: KENNEDY DAVE

32 VARIETY CONTENDERS VARIETY’SREALITY CATEGORY BREAKDOWN HOST

Bobby Berk, Karamo Brown, For the first time ever, this Fab Five Nicole Byer Byer picked up her first-ever Emmy Tan France, Antoni Porowski scored Academy attention in this cat- nomination in this category and made “Nailed It!” and Jonathan Van Ness egory. (The series itself is the incum- awards history while doing it: She “Queer Eye” bent structured program winner is the first Black woman to be nom- two-times over.) In a time when audi- inated in the category’s 13-year run. ences are starved for physical con- While her enthusiasm for the amateur nection, they can live vicariously baking and dessert-decorating chal- through these men literally embrac- lenges (as well as for associate direc- ing and transforming the lives of tor Wes Bahr) was infectious enough everyday people. Whether that makes to nab her the nom, it is the extra vis- voters warm and fuzzy or bitter that ibility and impact around the mean- they can’t personally experience that ing of the nom that aids her chances right now (due to the pandemic) will at the trophy. make the difference for the win, but as a fresh new entrant into this race, they are ones to watch.

Tom Colicchio and The dynamic duo made it back on Barbara Corcoran, Mark Cuban, Although the ABC entrepreneur Padma Lakshmi this ballot for the first time since Lori Greiner, Robert Herjavec, series has been a structured pro- 2009, after co-hosting a season of Daymond John and Kevin O’Leary gram ballot staple since 2012 (win- “Top Chef” their food competition set right in “Shark Tank” ning four times, between 2014 and many voters’ own backyards: Los 2017), the hosts (or the titular sharks, Angeles. They are always consistent as they are known) have never made and thoughtful with the way they it onto this ballot. The entry now, so interact with contestants and discuss long into the run, was unexpected, dishes, but admittedly noisier pro- making them a wild card for the win. CHRIS HASTON/NBC; RUPAUL: VH1 VH1 RUPAUL: CHRIS HASTON/NBC; grams will likely push them down in But what gives them heat is the rel- the pack. evance of what they do: using savvy business acumen to engage with and encourage new waves of innova- tion, which is something this country needs now more than ever.

Nick Offerman and Amy The duo sees its second consecu- RuPaul As the incumbent winner in this cat- tive nomination in this category for egory — and a four-time consecu- Poehler “RuPaul’s Drag Race” the do-it-yourself inspiration crafts tive winner, at that! — RuPaul is once “Making It” show. Always a delight when paired again going to be extremely hard to together, the series as a whole has beat. In the 12th season of his self-ti- extra relevance in the pandemic, tled drag competition program, he kept when people are puttering around the energy up through emotional work- their houses, looking for projects room visits, challenging episodic tasks to take on. What could hurt their and tense runways. Plus, he pivoted to chances, though, is discrepancy on at-home production for the season’s the Television Academy’s website most essential episodes: the finale and from the ballot (on the former only the reunion. Poehler is listed as a nominee in this category), leading to confusion over who would really get the win. QUEER EYE: NINO MUNOZ/NETFLIX; NAILED IT: NETFLIX; TOP CHEF: SMALLZ & RASKIND/BRAVO; SHARK TANK: ANDREW ECCLES/ABC; MAKING IT: MAKING IT: ANDREW ECCLES/ABC; SHARK TANK: SMALLZ & RASKIND/BRAVO; CHEF: TOP NETFLIX; NAILED IT: QUEER EYE: NINO MUNOZ/NETFLIX;

VARIETY 33 CONTENDERS

Guilty Pleasure: “The Great British Bake Off” “The one show that I consistently turn to in a time of angst is ‘The Great British Bake Off,’” Bee says. “I will drop any obli- gation, let the phone ring off the hook, let emails go unan- swered, home schooling be damned, if we are in the middle of a scorching show stopper and it’s too hot in the tent to temper chocolate. Someone’s cake collar is melting, the blast chiller is malfunctioning, polite British home bakers are vexed, and you can just inject all that drama directly into my veins. Yes, I am a nerd. No, I do not feel guilty about this.”

Deep Cut: “Lady Dynamite” “One show that still brings me deep pleasure is ‘Lady Dyna- BILL RECORDS/NBC T LIGHTS: mite.’ Back in the before times, when I still ‘traveled for work’ and ‘stayed in hotels,’ I would stream episodes of ‘Lady Dyna- mite’ to make me feel at home. I have eaten many a sad hotel club sandwich in the company of Ana Gasteyer nailing it as Michael Schneider the most balls-out rude and disturbing Hollywood agent ever rendered on television.” Samantha Bee’s TV Picks

“FULL FRONTAL WITH SAMANTHA BEE” host and Emmy nominee Samantha Bee selects her TV “guilty pleasure,” as well as her pick for “deep cut” (a show you probably haven’t heard of but she recommends) and her “show mate” — in other words, the TV series she couldn’t live without. Show Mate: “Friday Night Lights” “Today’s version of me is going to say ‘Friday Night Lights’ because it’s great and I miss it, and for me it was such a well-rounded television experience,” says Bee. “There are many other shows that I have loved that provided more of a gut punch, but this is a show I would watch over and over

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