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DRAWN TO THE MEDIUM “The Simpsons” started as a series of shorts in the late 1980s before becoming a half-hour animated sitcom that has inspired new generations of comedy writers.

WHEN “THE SIMPSONS” PREMIERED IN 1989, it was an outlier. Animated shows in primetime were by no means Drawing the unprecedented — “The Flintstones” broke that barrier in the ’60s — but never before had an animated series aimed at adults res- onated so powerfully or had as significant an impact on a network as “The Simpsons” did for Fox. Three decades later, though, such series Golden Age are having their moment in a big way. Mike Moon, head of adult animation at Netflix, began his career ADULT ANIMATED COMEDIES ENJOY AN as an artist on “The Simpsons.” What he’s seen in the years since has been a blossoming of adult animation on U.S. television. EVER-GROWING TELEVISION FOOTPRINT “Adult animation [over] the last 25 years has been a really incredi- ble story,” says Moon, who charts the format’s growth through shows BY DANIEL HOLLOWAY such as “The Simpsons,” Comedy Central’s “South Park,” Fox’s “Fam- ily Guy” and Netflix’s “BoJack Horseman,” to a recent crop of new shows. “I think in those early seeds, you saw a lot of variety, a lot of different types of tone.” Netflix, which Moon joined two years ago after the premieres of foundational series such as “BoJack” and “Big Mouth,” has been at the forefront of adult animation’s rapid recent growth. Much of that expansion has been driven by the entry of deep-pocketed streamers 2020 (including Netflix itself) into an area that for a long while had been limited to Fox’s longstanding Sunday-night “Simpsons”-anchored ani- EMMY mation block, Turner’s Adult Swim and a smattering of cable shows. EDITION But the proliferation of new platforms in the market translated into an insurgence of programmers unencumbered by the same THE SIMPSONS TM AND © 2020 TWENTIETH CENTURY FOX FILM CORPORATION. ALL RIGHTS RESERVED ALL RIGHTS FILM CORPORATION. FOX THE SIMPSONS TM AND © 2020 TWENTIETH CENTURY

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Untitled-15 1 7/6/20 11:01 AM FOX Netflix’s and“FIsfor “Disenchantment” gramming —including“Solar Opposites,” den expansion inadultanimated pro- process, what viewers may seeasasud han says. schedule,”thing intothebroadcast McMa- the streamers, you don’t have tofitsome tional planningsessions. Andnow with ablebe tofitintothosekindsof tradi longer,mated stuff took they wouldn’t on successes andfailures. “Since theani to pivoting quicklyfromyear toyear based would go throughthat cycle.” this year.’ But thenallthelive-action stuff goals, here’s what we’re going todevelop where they would say, hereareour ‘OK, says. “Iwould seethisproblem happen forlooking at any onetime,” McMahan showmated intowhat thenetwork was buttheymation, weren’t able tofitanani- where they mighthave fansof ani been at camefromother places thestreamers the ground. than traditionallive-action seriestoget off comedies,animated whichtake farlonger couraged networks from focusing onadult developmentbroadcast cycle often dis “Solar Opposites,” says thedemandsof the forprospect traditional networks. forces that madeadultanimation atough Because of that longer development executivesBroadcast areaccustomed “A lotof executives whoareendingup of Hulu’sMike co-creator McMahan, ------to strengthen itsadult-animation brand. “Bob’slong-running Burgers,” asitsought the thestudioBox behind Entertainment, schedule. tion lineupcontinues afixtureonits tobe “Clone High.” AndFox’s Sunday anima als of “Daria,” “Beavis andButthead” and WarnerMedia. ViacomCBS reviv ordered continues akeystone tobe for what isnow in theadultanimation game. Adult Swim it. recently streaming began Netflix therightstoseriesand acquired which isenjoying renewed interest after elodeon’s “Avatar: TheLast Airbender,” shows”mated for Hecites Nick- children. morecomplexhad grown ani up“with ognized that anewer generation ofviewers shows at afaster rate afew years ago rec greenlightingadultanimated who began of shows.” that therewas anaudience for thesekinds years ago itwas proved by thestreamers cropping uprightnow acouple because more of shows theseadultanimated shows,” McMahansays. “You’re seeing and writeanimate andfinishthese years inthemaking. been Universe’s “Harley Quinn” —hasactually “Final Space,” Fox’s “Duncanville” andDC Family,” Hulu’s “Crossing Swords,” TBS’ Last year, Fox Corp. Bento purchased But linear networks remain very much much But networks linear remainvery McMahan says thesameprogrammers “It takes acouple of years todevelop

- - - - in May. launched onHulu Opposites” McMahan’s “Solar and Mike Justin Roiland ANIMATION THIS WORLD OUT OF to really grow.”to really I thinkthere’s for us opportunity agreat ers anddodramedy. inaway, SoIthink, mas, we candohorror, we candothrill- domorehour-longcan possibly dra ries, notagenre,” says. Greenberg “We where animation isaway of tellingsto animator Japanese StudioGhibli. endary of leg May thelibrary launchtostream prior toits which setalandmarkdeal suchasNetflixstreamers andHBOMax, audiences toby arenow exposed being showsmated —shows that American of otherkindsof andEurope Japan ani comedy.”scripted adult primetime, we’ve seensuccess in think alsoanimation straddles genres. In says. aremorebuyers. “There AndI aproducer of animation,”be Greenberg that isongoing. the most recent stage inanevolution of the format’sfruit growth, butrather seriesnotastheultimate adult animated a moresophisticated palate.” animation [and]onanime, andthey have viewers whohave grown uponmore “Weand CEOScott Greenberg. now have animation,” says BentoBox co-founder that generationout, didn’t grow upon “We’ve always seenopportunity But toward hepoints thesuccess in “There hasn’t“There abetter timeto been seesthecurrentcropof Greenberg Simpsons’first came ‘The “When VARIETY TOP BILLING - -

- - 7 annually. TheOscarsand Gram- repeat andwinners nominees which iswhy there are somany to stickwithwhattheyknow, let’s hopeso. Emmy voters tend announced July28. At least, Emmy nomsare finally few whenthe2020 surprises choosing nominees. very well impacthow they’re set rightnow —andthatcould people are inadifferent mind- likehistory noother, perhaps Given thatthisisatimeinour shake uptheEmmy race? 8 With the Hopefully New Out With the Old, in IN THERUNNING THE DRAMA AND COMEDY SERIES BALLOTS SERIES COMEDY AND DRAMA THE ONTO TO SNEAK SURPRISES ALLOW SOME COULD RETURNING NOT NOMINEES YEAR’S LAST AND CAMPAIGNS FYC DIFFERENT What that might mean isaWhat thatmightmean Academy voters finally that theTelevision COULD THISBETHEYEAR VREY VARIETY Michael Schneider

the hopes thatamorethe hopes active begin vetting itsmembership, in Academy’sthe TV move to same nominees. voters’ tendencytoinvite the at theEmmy becauseof table others didn’t getaseat programs,tastic butsomany Jon Stewart.” Those were fan- Race” and“TheDailyShow With Louis-Dreyfus, “TheAmazing decade for “Veep” andJulia dominant winsover thepast ever begins:Justlookatthe Emmy raceisover before it the often nature means ofTV ers every year, buttheongoing mys innewcontend- onlydeal We’ve already written about ries. Inthecompetitionprogramries. the dramaandcomedycatego- won’t beback-to-back wins in atthevery theremeans least bag” won’t beback,which “Game ofThrones” and“Flea- 2019’sseasons. bigwinners ing extended between hiatuses common practiceofshows tak- ing oftheguard andthemore ferent becauseofbothachang- competition totherace. potentiallyaddalittlemoreleast both comedyanddramawillat to firmupeightnominationsin we’ve alsonoted,thedecision to more representation. Andas (and younger) bodymightlead But thisyear willalsolookdif- “Euphoria.” in HBO’s teenager Zendaya addicted plays adrug- FRESH FACE i y n r Mir per y w b i a c n n a e e n happens next.” really interesting toseewhat before, withintention.Itwillbe way thattheyprobably haven’t they’re ina actuallywatching TV exec. “People are athomeand shiny shows,” says oneawards be somuchnoisearound the wouldn’t, becausethere would that probably ordinarily potentially contendthisyear tried-and-true. real shakeup vs.the usual toa And, inturn,thatcouldlead voters tobroaden theirscope. even spurred by awillingness sion andrepresentation has wide conversation aboutinclu- watched more shows. Academy membersactually race, andapossibilitythat a pureness tothisyear’s Emmy been tempered. there’s Instead, has the noiseofseason people mostlystaying athome, way nooneexpected. altered thisFYC ina season nated. Butthepandemic doubt bothshows willbenomi- frontrunners. Andwithouta Creek” haditinthebagas “Succession” and“Schitt’s would have toldyou Ithought the Emmy racegotunderway, I remains tobeseen. Things,” “Westworld”) —still Handmaid’s Tale,” “Stranger race (see: “TheCrown,” “The sitting out lastyear’sing after — orsomethingnewlyreturn- there’s room for somethingnew gets backontheballotor areturningmeans nominee “Bodyguard.” Whetherthat is onlylosing“Thrones” and “Barry.” Butthedramacategory as well as“Russian Doll”and theretiredthat includes “Veep,” “Fleabag,”in 2020—besides year’s won’t nominees beback ning streak willbehalted. race, soitsthree-in-a-row win- Mirror” was moved tothedrama movie,period. AndinTV “Black year-long Emmy eligibility wasn’t even airingduringthe back by CBS, untilsuddenlyit ing Race” kept gettingpushed and 10-timewinner“TheAmaz- category, perennial nominee a i a a n g c a a t d 2 c “There are shows that could Perhaps therecent nation- With campaigningand less Several monthsago, before In comedy, several oflast

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Untitled-12 1 6/30/20 10:57 PM FACETIME

“Bad Blood” depicts Egypt let’s do this.” I owe a lot of Monica Sotto and Rome as Mary Mallon my creativity to historical spreads typhoid fever and photography. There’s also so Cleopatra’s sister schemes much old beauty in L.A. We ‘THERE’S SO MUCH OLD BEAUTY IN L.A.’ for power. Both are loca- find private homes and old tions done many times estates that have European By Jazz Tangcay before on-camera, so how and Asiatic architecture. did you want to depict MONICA SOTTO WAS elevated to production designer on “Drunk them differently? We defi- What was the inspira- nitely have a cap for the tion for the “Bad Blood” History” after Chloe Arbiture left the Comedy Central series budget so that plays a large episode? Creators Derek between the fifth and sixth seasons. Earlier this year, Sotto took part in what we can do. Waters and Jeremy Konner home the variety, reality or event special production design award from Egypt was shot over three are such cinephiles and days. Luckily L.A. has a lot often they’ll watch random the Art Directors Guild for her work on the lip-synced historical comedy of “desert.” We filmed at films. In this instance, it after being responsible for creating the sets for all 16 episodes of the Blue Cloud Movie Ranch was “Assassin’s Creed.” It sixth season. The season finale, “Bad Blood,” was a specific point of pride that had a street that was shows this lush Egypt era made to look like Afghan- that wasn’t pyramid heavy. and is being submitted for Emmy nomination consideration. istan. It had enough there It was all about silks, trade where we fixed it and and Roman goods. We did added props. It’s surpris- a greenscreen thing to ing how easy it is to find expand the sets to make it Ancient Egypt and Rome look a bit like “Assassin’s in our show biz city of Creed” and pay homage. Los Angeles. How do the various actors The Typhoid Mary plot who come in for only an seems extra fitting to episode affect what you our world today. I loved do? We shoot the drunk that story. I loved that narration first, and that she was this asymptom- becomes the script. The atic cook in New York. Our show has thrived on this New York was the “Gangs concept of doing one histor- of New York” era. She ical story a day, so you get never washed her hands that really awesome actor and infected all these peo- for a day who comes in and ple with typhoid. For the does that part. From there, upcoming season, we were we do our prep work. Our going to do an episode of Egyptian bedroom looks [physician] Ignaz Semmel- amazing, but if you’ve got weis, who also discovered Aubrey Plaza in this great that washing your hands is wig, you can totally believe also super important. you’re in Cairo.

What goes into your What did winning the Art research? I wish I had more Directors Guild Award time at the library, but the mean to you? I’m speech- internet is so good. Fan sites less. I was not just a woman, are amazing: The Victorian but a woman of color. It was enthusiast sites are incred- just me and the “Parasite” ible. By the time I’m scout- crew. The win was huge. If ing, I’ll pull out my iPad of a the world wasn’t so trau- photo that I’ll have and say, matic right now, I’d still be “This looks like the Alps, on cloud nine.

WHERE ELSE YOU’VE SEEN MONICA SOTTO’S WORK: “AMERICAN HORROR STORY,” “ARE YOU THE ONE?,” “PRINCE OF PEORIA,” “SQUARESVILLE” COMEDY CENTRAL COMEDY

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OF EVERY PERSON”

“IT’S SPECTACLE, BUT IT’S ALSO REVOLUTION… UNLIKE ANYTHING ELSE ON TV”

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Untitled-12 1 6/30/20 10:58 PM Untitled-1 1 7/1/20 1:06 PM Untitled-12 1 7/6/20 10:57 AM SCENE STEALER

‘SUCCESSION,’ SEASON 2, EPISODE 5

‘TERN HAVEN’

WRITER: WILL TRACY DIRECTOR: MARK MYLOD

grand experiment. I would do J. Smith-Cameron takes where I’d be sort of more dominatrix with him, and then takes where I’d be more Toward the end of Season 1 of “Succession,” J. Smith-Cameron and Kieran repulsed. We did so many dif- Culkin — who have known each other for years — improvised a cheeky, flir- ferent ways. And bear in mind tatious banter at the conclusion of a scene. It didn’t make it into the episode, that the previous episodes when there would be scenes but it inspired a running Season 2 storyline in which his Roman gets turned about our storyline, we would on when her Gerri berates him in the most explicit ways possible. In the fifth also do many takes of many episode of the second season, “Tern Haven,” the Roys spend the night at the versions of the line. So I didn’t estate of the billionaire Pierce family. After a tense dinner between the two know, because those episodes families, Roman visits Gerri for another one of their special conversations. weren’t edited yet, what the story being told was so far. It could have felt dangerous any- SMITH-CAMERON: It’s job and she’s playing the long can see that Gerri is relieved way, because the guy’s mas- a dangerous moment game with them. and feels like she dodged a turbating in the bathroom. in their burgeon- What interests me about bullet — but is also kind of I have to say in my long ing new friendship. They do the scene is it’s a roll- victorious in some weird way. career, I don’t know that have some shared interests, er-coaster ride, an obstacle It was really tricky, and that I’ve been in such an unusual because they both want to course. First, I think Gerri was the very last scene to be story arc. It’s so interesting have a foothold in the fam- feels for him and then when shot in that episode. to me, and complicated and ily business. And so it makes he admits that he wants to We got to shooting it at kind of shocking — and it’s sense as some kind of liaison. somehow fool around, Gerri like 3 a.m. or 4 a.m. Will sort of sad and fascinating There’s a kind of an intimacy is horrified. And [when she] Tracy, who wrote that epi- in terms of #MeToo, and in in place. At dinner when Shiv starts to scold him, she sees sode, said at one point they terms of women of a certain [Sarah Snook] blurts out that that’s exciting for him. I were going to backpedal that age, flexing their power. It’s she’s going to be the succes- think maybe it’s a little excit- whole scene. And then Kieran got many facets that make it sor, he’s just devastated. ing for her, in spite of her- and myself, according to Will, really topical. I think that Gerri thinks self. And then by the time she had such chemistry lead- they’re all jerks. But she’s makes him go in the bath- ing up to it that they decided also really committed to her room and the door shuts, you to go ahead. So it was like a BY MICHAEL SCHNEIDER GRAEME HUNTER/HBO

14 VARIETY Untitled-8 1 7/6/20 10:38 AM cinating world toget into.” fascinating charactersandafas That makes it. who created for andnooneknows chandising, of ‘Star Wars,’ includingmer money thantheentirefranchise as afranchise, hasmademore Lucas is, but‘Grand TheftAuto,’ is, knows everyone whoGeorge one knows whoJames Cameron that feels like tothem?Every video game. What doyou think that madea name oneperson on anannualbasis, you couldn’t billions andof dollars games, generating billionsand “But makingthese asthey’re McElhenney says of gaming. it’sindustry; noteven close,” gaming. high-end owners tothat of successful, from theworld bar of struggling thisyear,Plus earlier hemoved quet,” whichbowed onApple TV “Mythic Quest: Raven’s Ban in small-screenhistory. But with gest-running live-action sitcom 15th season willmake15th season itthelon in2005andwhoselaunched Sunny inPhiladelphia,” which “It’shaving co-created Always ‘MYTHIC QUEST:‘MYTHIC Multi-Level WorldBuilder 16 cinating world toget into.” fascinati THE SETUP RAVEN’S BANQUET’ ROB MCELHENNEY,

THEN ONCEWESTART IDENTIFYINGWHAT AN TOGETHER, JUST ALLTHROWING OUTIDEAS. THOSE LACROIXS.” THING THAT GETS RIPPEDTHROUGH ARE “Their industry dwarfs our dwarfs industry “Their YOU SOJUST REWRITEAND REWRITE, WRITE.” GOING TO GETTHROWN OUTTOMORROW. OVERALL ILIKETO ARC COULDBE, SPLITTHE WRITE SOMETHING. BECAUSE IT’S PROBABLY WHEN I’MWRITING.” WRITERS’ ROOM STYLE: ROOMS UPANDBOUNCEBACK ANDFORTH.” FIRST WEEKILIKETO KEEPEVERYONE HOW HEBREAKS WRITER’S BLOCK: MOOD MUSIC: FAVORITE WRITERS’ ROOM SNACK: ROB MCELHENNEY’S INSPIRATIONS: yDnel Turchiano By Danielle to workplace comedies, nostrangercertainly ROB MCELHENNEY ng characters VREY VARIETY “IDON’TLISTEN TO MUSIC

and is “WHEN IT’S THE

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- fas - - - “JUST “THE w o p w P o o t B t e t r t m b t i f “ Pudi) totheformer leading of monetization Brad(Danny other characters, fromhead oftude informed anumber But also, toadegree, that atti the titularroleplaying game. company whocreated eo-game the creative director of thevid ration for McElhenney’s Ian, they areessentially gods.” many egomaniacs because building aworld, thereareso are theythat truly “because asdidthefact him, intrigued from suchanenvironment that comes“inherent conflict” when working onagame. The on how toachieve theirgoals” but“differentpower” ideas who have “equal amountsof passionate people” willed, strong- to witness the“very facilityallowedMontreal him but visitingproducerUbisoft’s ing ashow setinthisworld, was unsureat first about mak And thereinlay theinspi McElhenney admitsthat he - - - - massive success that Iancon (Craig Mazin). Abraham) andgametester Lou fantasy writerC.W. (F. Murray hired writerswhohadworkedhired a femalebe gamer, theteam experiences aswhat it’s like to authenticity, McElhenney says. For thekey both, was capturing the titularroleplaying game. to buildouttheworld within andDavidGanz Hornsby had low executive Megan producers Quest,” McElhenney andhisfel company “Mythic that created universe of thevideo-game an expansion totheirgame. asthey prepare members team follows the“MythicQuest” another iseven bigger. sure tofollow onesuccess with may athead be times, thepres —butasbighis industry siders himselfontopof the The game became suchaThe gamebecame In order to portray such In ordertoportray the In additiontocreating ofThe first theseries season - - - ney says. tiae allof thetime,” McElhen- you can’t get intotheminu have 25minutestotellastory gets it.’everybody Whenyou we also recognizetry that not love working intheindus ‘We get it—asmuchwe those momentsandthey said, asked aboutand Ispecifically eral audience tounderstand, to have theminfor thegen butwe neededprogramming, ofwith thetechnicalaspects ting somethingswrong. if andwherethey may get be he alsoasked themtotellhim satirizing us,’” heexplains. But and celebrating us, of instead This feels like ashow for us and say, ‘Yes we’re proudof it. of Ubisoft. a subsidiary worked closelywithRed Storm, of buildingthegame itself, when itcametothedetails and in gamedevelopment, “Some things didn’t jive “I wanted themtowatch it - - - -

APPLE TV+ Untitled-14 1 7/6/20 10:58 AM was material. nostranger tosuchimportant Last O.G.” of “The episode Cherry withthecop that also dealt talk, aswell asanseries centered police on araciallycharged shooting, onhiatus.to be Red Line,” Having of “The doneanepisode alimited in theever-moving machineof TV, theshow because just happened week withtheseries’directorof photography Troy ararity Smith, (ashewasproduction celebrating for a hiswin),hehadprepped profiling withtheiryoung son (Ethan William Childress). Sumpter)andPaul(Tika (Mark-Paul Gosselaar) discussing racial which featured themesof abuse of power andsaw Alicia parents ‘MIXED-ISH’ Covering the Cop Talk MATTHEW A. CHERRY AND TROY AND CHERRY MATTHEW A. SMITH on aNetwork Sitcom 18 PERFECT UNION

Although Cherry hadn’tAlthough Cherry sleptthenight before beginning By DanielleTurchiano ish” “Bad Boys,” todirectthepivotal episode first season ontothesetof ABC’s hestepped film, animated short “Mixed- THE DAY MATTHEW AFTER CHERRY A. VREY VARIETY won theOscarfor about halfacalendar year,about workingtently been withfor of “Mixed-ish” had consis something thecast andcrew for that,” Smithsays. “I amkindof thegatekeeper toadegree,and, shotstyle. establish andfeel thelook the executive to producers series, Smithworked with visuals of theepisode. was essential the tocreate ing hand-in-handwithSmith much onthepage.” But work family comedy was “very inahalf-hourserious story says thetoneof this Cherry The show’s overall is look At thelaunchof the on “Mixed-ish.” by awhitecop gets pulledover Alicia Johnson Tika Sumpteras THE STAKES TENSION AND RAISING THE - - is really excitingis really tome.” and ominousemotional— wants — togo dark that mood director whoisintothat and Smith says. “Working with a interesting lightingandflares,” that whichiswork much, TV thing you don’t get todoonnet- they allowed ustodosome ence toherhusband. later recounting that experi white officer at nightandthen over pulled as Alicia being by a est inbecoming acop, aswell totheir son’sapproaches inter Paul discussing theiropposing examples includingAlicia and and turns,” henotes, citing emotions with alotof heavy to five-page scenes that came handy for themultiple“four- to go slightly widercamein inacloseuporwhen when tobe appreciative of that.” todo,needed andIwas really age, they let you dowhat you cover-self andgot theproper long asyou your protected gave mefreedom,” hesays. “As didn’t have —that parameters show I’ve worked onthat really were made, istheone but“this do.” Some slightadjustments knows theshow thanI better “hethem throughbecause those planstoSmithtalk out theepisode, andthentook the ShotDesignerapptoplan always make theshow better.” “discussionseficial because was ben things withCherry ing moretimetowork through much aspossible,” buthav toadaptthat as and trying onthefirst rehearsal “based uring outadirector’s story havetypical episodes himfig ideas.”good ideas, and Matthew hadreally always excited tohave new that’s restrictive,” hesays. “I’m and time. youlock intoperformances Smith says, they can because a large of performers, number shotsfeaturingof Steadicam on theshow isnottodoalot guideline for guest directors before “BadBoys.” Onespecific (19previousepisodes) season and themajorityof thefirst “When Alicia is pulled over, Alicia ispulled “When tochoose Such freedom says hefirst usedCherry From Smith’s perspective, “That’s theonlything really ------

ERIN SIMKIN/ABC

ANATOMY OF A SCENE

Film a Funeral But Make It Cinematic — and Comedic

‘RENO 911’

By Danielle Turchiano

DURING ITS SIX-SEASON-AND-A-MOVIE Comedy Central run, “Reno 911” was always always known for off-the-cuff comedic riffs, and its new season on Quibi is no exception. But, bringing the law enforcement comedy back more than a decade after originally signing off, and on a digital platform, has allowed the show to take its humor to new, more polished heights. In the third episode of the revival, “T.T.’s Auntie’s Funeral,” the show pays homage to “1917” with a tracking oner that follows the members of the Reno sheriff’s department, a marching band and mourners as they carry a casket out of a funeral home, through road blocks, sprinklers and a construction explosion, to the cemetery. DARREN MICHAELS/QUIBI DARREN

20 VARIETY FRANK BARRERA Cinematographer

“Since this scene was an obvious homage to ‘1917,’ our start- ing point had to be the same as theirs: one camera only and often on some type of stabilizer head. We had the wide zoom lens on [a Steadicam] and used the S35mm equivalent field of view of a 28mm lens for the entire shot. Graham Kennedy, one of our camera assistants, used a 3D printer to create a thin 9x16 plastic frame that we could use to slide left and right over the video monitor so we could see possible vertical frames. As far as lighting, we got lucky with the route of the funeral and shot it towards the end of the day. The low winter sun was always either side-lighting the cast or hitting them from behind, making for a beautiful set up. At the very end, when they reach the cemetery plot, we did have a 20’x20’ Ultra bounce reflector waiting for them just to sweeten the moment as the sun backlit the dramatic ending.”

DAVID LINCOLN Director

“‘Reno’s’ three creator-stars and I scouted, prepped and planned as a team. On the day, they’re in character, carrying the coffin, yelling ‘To the starboard! Double-time!’ but that’s also them, shepherding from inside the scene, while I was directing behind the camera, focused on the shot and pac- ing, to deliver maximum comedy mayhem as laid out in the script-ment, and to capture any unplanned dance moves or improved jokes that happened in the moment. Over the years we’ve all gotten pretty good at not laughing even when things are very funny, so we won’t ruin a take. Luckily, this scene was loud enough that I didn’t have to worry about that.”

ERIC FRAZIER Special-effects supervisor

“We had specially designed sparking devices that shot sparks out over our actors as they passed by; we built a sprinkler sys- tem that was placed in line with the procession that could be turned on at the right time; one of our guys was the backhoe operator who did the dirt dump as they passed, and of course the explosions. The size of the explosion is accomplished with black powder and an electric spark. We call them lifters once finished; in this case we decided on 6-ounce lifters. [That] was then placed in a metal mortar that was hidden on set. We filled the mortar with potting soil, FX dust and other safe products that gave the explosion a unique look. The electric spark could be detonated from a distance by one man firing. We all wore headsets [so] we could hear an abort call that could be given by anyone for safety, but [it] was up to a visual cue to make the decision to fire.”

ROBERT BEN GARANT KATHRYN LANGSTON ORINDGREFF Co-creator, writer, actor Costume designer

“We started with the idea of doing a scene seeing more of T.T.’s “The uniforms are actual law enforcement uniforms family. People love T.T., and we thought the idea of a bunch of that were modified to look like the Reno sheriff’s T.T.s could be really wonderful chaos. We put them at a funeral, department. They are a cotton-polyester blend that because T.T. is at her best when she is very upset about some- withstands dry cleaning and machine washing. The thing. Then we came up with the idea that we sheriffs should be only exceptions to the uniforms are Junior’s vest and pallbearers — simply trying to get from point A to point B: the Dangle’s shorts, [which] were custom built specifical- church to the hearse, or the hearse to the grave. And the mobs ly for the characters. We did have multiples on hand of upset T.T.s would be throwing themselves at us and the coffin on the off chance we needed to reset a costume for — we just had to somehow get through it. Conflict always helps continuity. However, because the scene was shot in a ‘Reno’ scene. Then all of us saw ‘1917.’ It was all we talked about sequential order, we maintained how they looked from for a couple days. So we thought, ‘Let’s do that.’” start to finish without a change.”

VARIETY 21 FOR YOUR CONSIDERATION BEST DIRECTOR Deborah M. Pratt

“The April 9 finale of Grey’s Anatomy drew 16.5 million viewers.” THE HOLLYWOOD REPORTER “Grey’s Anatomy’s season 16 finale achieved an impressive feat” BROADWAY WORLD TV “Most-watched show on ABC this past season, drawing 16.5 million viewers” DIGITALSP “Packed with the jaw-dropping twists and turns.” REFINERY 29

ec te Am o m e p o e perate without agents. erate erica have started laying the r the Media Business ric essionn: CouldWhat aMean Breaking News with

F EBRUARY 26, 2019

APRIL 30, 2019 With many economists predicting a recession could hit the U.S. economy in the coming months, the media business could be in for a rou … From the Magazine READ MORE

BreakingJANUARY 15,News 2019 'Because They Can': Inside the Growing Debate on Media CEOs' Jaw-Dropping Salaries Can Hollywood’s Biggest Media Companies Avoid Getting Crushed by Debt?

Elizabeth Gabler is joining Sony Pictures Entertainment in a tive media deal that will see the veteran executive... READ MORE

Media giants have piled up mountains of debt. AT&T, Disney and Comcast now need to make sure they don’t get crushed under… READ MORE

Discovery chief David Zaslav's 2018 windfall fuels growing opposition from investors and activists over excessive CEO pay. READ MORE 'Lord of the Rings' Series at Amazon Taps First Cast Member (EXCLUSIVE) BreakingJULY 08, 2019News n

in Breaking News

JULY 22, 2019 Trusted News Sony Pictures Buys Nurulize, a Virtual Production Software ;OL\WJVTPUN¸3VYKVM[OL9PUNZ¹ZLYPLZH[(THaVUOHZTHKLP[Z casting decision... Startup (EXCLUSIVE) Delivered to READ MORE

Celebrities Demand Gun Control Amidst Multiple Shootings: ‘It’s About Life and Death’

Breaking News Sony Pictures Entertainment’s Sony Innovation Studios has acquired Nurulize, a startup whose software lets users edit...

AUGUST 4, 2019 READ MORE t ÄYZ[ Wri r Celebrities from across Hollywood are demanding more gun control fo following two mass shootings in... READ MORE Su

Viceland Will Relaunch Your Inbox Primetime With Nightly Live 2-Hour Variety Show (EXCLUSIVE)

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BreakingAPRIL 01, News2019

Writers Guild Preps Members for Life Without Agents, Debuts Submission System

t NEWSLETTERS The leaders of the Writers Guild of America have started laying the groundwork for writer members to operate without agents. READ MORE DailyMARCH Variety 27, 2019 #TRUTHTELLING SINCE 1905 t

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0709 EE Stacked Ads_ Individual Talent & HOUSE AD.indd 6 7/6/20 1:13 PM GUTTER CREDIT CONTENDERS’ PICKSCONTENDERS’ SHOWS BUTMAKETHECASE FOR EACH OTHER’S, TOO. PRODUCERS DON’T JUST CELEBRATE THEIROWN SOME OFTHISEMMYSEASON’S LEADING WRITERS AND EDITION EMMY 2020 CONTENDERS VARIETY 23 Emmy Awards. which they have falleninlove tosee nominated at andhope the72ndAnnualPrimetime Emmy infrontof work. them—writersandproducerssetouttostudy ballot theirpeers’ of thosehoursfreetoconsume media. almost 20hoursadaywho usuallyspend suddenlyfound creating themselves withmany By DanielleTurchiano INSTEAD OFSEEINGTHEMAS COMPETITION PRODUCERSTV CELEBRATE EACH OTHER’S SERIES HBO’s “Watchmen.” and grandfatherin played grandaughter Louis GossettJr. Regina Kingand WITH ATWIST FAMILY DRAMA 24 EMMY CONSIDERATION EMMY FORCONTENDERS CALL Here, of thosecreatives anumber tell Faced withapproximately nominations-round seriesalone—andalooming 500scripted medium, but that changed greatly in spring when a global pandemic hit and those hitandthose pandemic butthat inspring whenaglobal changedgreatly medium, THOSE WHOMAKETELEVISION VREY VARIETY Variety often have little timetoactuallywatch the what series(other thantheirown) with ‘Better Things’ ‘Normal People’ “‘Insecure’ issmartandfunny andsexy “I would really like tosee‘Devs’ get and shiny. Justlike Issa Rae.” Pamela AdlonPamela Alex Garland’s work sincebefore ‘Ex ed, thoughtfulsciencefictionandhas Lenny Abrahamson nominated. I’ve beenanadmirer of produced anextraordinary show fullof work brilliantlyinthetraditionofelevat- Machina.’ With ‘Devs’ hecontinuesto beauty andphilosophicaldepth.”

WATCHMEN: MARK HILL/HBO; ADLON: ANTHONY BEHAR/FX/PICTUREGROUP/SHUTTERSTOCK CONTENDERS

Kenya Barris Steven Canals Greg Daniels Kerry Ehrin Liz Feldman ‘#BlackAF’ ‘Pose’ ‘Space Force’; ‘Upload’ ‘The Morning Show’ ‘Dead to Me’

“‘Succession’ is my choice, hands “‘Sex Education.’ I’ve always been “I’m watching ‘Devs’ right now, and “‘Pose’ is fun and entertaining, and “I loved ‘Unorthodox’ on Netflix. down. When it’s on, I cannot a sucker for a high school-based I think that’s got a beautiful visual allows viewers to take a deep It’s based on a book that I had stop watching it and I cannot get teen drama — ‘90210,’ ‘Dawson’s poetry to it, and I like the individual journey into a wonderfully specific loved and I thought they did such enough. I’ve never seen a show Creek,’ more recently ‘Euphoria.’ artistic taste to it. It’s got a lot of world full of heart and truth.” an interesting and inventive job catch fire like that. For me, it None have moved me to laughter interesting stuff happening, and bringing it to life. And the fact quickly became the funniest, most and tears quite like ‘Sex Education.’ it’s also very thoughtful and poetic, that those actors are speaking frantic, incredibly prescient show It perfectly captures the personal, and that’s what I’d love to see more multiple languages, including on TV.” and social, joys and challenges of in TV.” Yiddish, which is essentially an of being an awkward adolescent obsolete language, I just thought discovering their sexuality. I wish it was so impressive.” I’d had this show during my own teen years.”

TRIPPY MYSTERY Sonoya Mizuno played a tech company worker looking into the disappearance of her boyfriend in “Devs.” /SHUTTERSTOCK (2); (2); /SHUTTERSTOCK

Lang Fisher ‘Never Have I Ever’

“The second season of ‘Suc- cession’ was phenomenal. Not only were the performances extraordinary, but the storytelling was thrilling. And, honestly, the show is basically real estate porn. How many breathtaking estates “[‘DEVS’ IS] VERY can one production film at? I also really enjoyed this season THOUGHTFUL of ‘Better Call Saul.’ It was so AND POETIC, well-crafted. Rarely do you see a AND THAT’S drama that is equally dangerous WHAT I’D LOVE and fun.” TO SEE MORE OF IN TV.”

Greg Daniels EHRIN: MICHAEL BUCKNER/VARIETY/SHUTTERSTOCK; DEVS: MIYA MIZUNO/FX MIYA DEVS: EHRIN: MICHAEL BUCKNER/VARIETY/SHUTTERSTOCK; BARRIS: CHELSEA LAUREN/SHUTTERSTOCK; CANALS: CHRISTOPHER POLK/VARIETY/SHUTTERSTOCK; DANIELS, FELDMAN: WILLY SANJUAN/INVISION/AP FELDMAN: WILLY DANIELS, POLK/VARIETY/SHUTTERSTOCK; CHRISTOPHER CANALS: LAUREN/SHUTTERSTOCK; CHELSEA BARRIS:

VARIETY 2255

Peter Gould Suzanne Heathcote Gloria Calderón Kellett Damon Lindelof Felischa Marye ‘Better Call Saul’ ‘Killing Eve’ ‘One Day at a Time’ ‘Watchmen’ ‘Bigger’

“I found ‘Unbelievable’ very upset- “It’s been an incredible year for “‘Normal People,’ I think, is one of “‘Dave.’ An exquisite, elevated dick “‘The Morning Show’ was a ting, but I couldn’t stop watching: television and there’s been so the most stunning pieces I’ve seen joke. One episode made me laugh favorite for me. The writers were beautifully written, made with much that I’ve enjoyed. Particular in a very, very long time. I think it’s harder than anything I’d seen so nuanced in their exploration elegance, honesty and utter highlights for me would have to so beautiful. And I also really loved this year and just a few weeks of the #MeToo movement — conviction. For getting us through include ‘Unorthodox,’ which I found ‘Never Have I Ever’; I thought that later, I was floored by a beautifully addressing its critics, those who the pandemic, ‘What We Do in the so moving and poignant and gave was so charming and I loved see- personal account of mental illness. are complacent as well as those Shadows’ has been a lifesaver. End- me such insight into that world in ing not only an Indian perspective The whole season crescendoed who claim ignorance, equally. I lessly imaginative and sharply writ- a way I’d never experienced before. but a young girl’s perspective.” with a finale that opens with a felt empowered and inspired by ten, ‘Shadows’ features a brilliant ‘Succession’ was an exceptional sequence that needs to be seen the series, as it showed us what cast including two of my favorite season of television, taking you to be believed and ends with a can happen when we collective- comic actors: Mark Proksch and places you never would imagine stunning indictment/defense of ly do the right thing to call out Matt Berry. I want Mark back on yet could always believe. A limited cultural appropriation.” institutionalized sexism, abuse of ‘Saul’ ASAP and Matt would fit right drama I found utterly outstanding power and harassment.” into our Albuquerque legal world. was ‘Normal People.’ Every element Jackie Daytona forever!” of that production served the story in a subtle, nuanced way and I was completely invested emotionally from beginning to end. It took me a while to recover from it.”

PRODIGAL SON Jeremy Strong plays Kendall Roy in HBO’s “Succession.” ER/HBO

“[‘SUCCESSION’] IS BASICALLY REAL ESTATE PORN. HOW MANY BREATHTAKING ESTATES CAN ONE PRODUCTION FILM AT?”

Lang Fisher GOULD: MEDIAPUNCH/SHUTTERSTOCK; HEATHCOTE: SARAH SHATZ; KELLETT, LINDELOF: ROB LATOUR/SHUTTERSTOCK (2); SUCCESSION: GRAEME HUNT (2); SUCCESSION: LATOUR/SHUTTERSTOCK ROB LINDELOF: KELLETT, SHATZ; SARAH HEATHCOTE: MEDIAPUNCH/SHUTTERSTOCK; GOULD:

26 VARIETY CONTENDERS

A COP WHO CARES Merritt Wever as Detective Karen Duvall in Netflix’s “Unbelievable”

“THE FILMMAKERS CLEVERLY IMBUE HORROR ELEMENTS INTO WHAT COULD HAVE BEEN A PRETTY STANDARD DETECTIVE STORY. AND DID I MENTION HOW GOOD MERRITT WEVER IS?”

Marja-Lewis Ryan

Bruce Miller Marja-Lewis Ryan Peter Saji Tanya Saracho Alena Smith ‘The Handmaid’s Tale’ ‘The L Word: Generation Q’ ‘Mixed-ish’ ‘Vida’ ‘Dickinson’

“I’d love to see ‘Euphoria’ get “‘Unbelievable.’ Or, more specifical- “‘Watchmen’ is the kind of show “’Feel Good’ on Netflix with Mae “I really enjoyed the limited nominated this year. It’s beautifully ly, Merritt Wever in ‘Unbelievable.’ that makes me nauseous with envy. Martin [is] such a beautiful story series ‘Devs’ — I found it super made, and the cast is exceptional. Something about that woman’s face. It’s powerful, fearless and, in these of addiction and redemption and thought-provoking and unique- And it is about young people in the I can’t explain it. She’s got to be times, prescient. I hate everyone it’s a delicate, beautiful gem. And ly atmospheric. I love the way real world. If the last few weeks/ the greatest listener on television. involved and all of their bottom- then ‘Normal People’ [on Hulu is] Alex Garland grounds sci-fi and years have told us anything, it’s The whole show is so well shot. It’s less talent.” such exquisite storytelling, the intriguing philosophical questions that the time has come to listen visceral. The filmmakers cleverly cinematography is unbelievable, in a truthful psychological reality. to a new generation with more imbue horror elements into what and those performances — I especially enjoyed Alison Pill’s diverse storytellers. I think a could have been a pretty standard they’re inspired.” performance — she is always so nomination for ‘Euphoria’ would detective story. And did I mention captivating and complex.” encourage those voices.” how good Merritt Wever is?” UNBELIEVABLE: BETH DUBBER/NETFLIX; MILLER: MICHAEL BUCKNER/VARIETY/SHUTTERSTOCK; RYAN: OVIDIU HRUBARU/SHUTTERSTOCK; HRUBARU/SHUTTERSTOCK; OVIDIU RYAN: MICHAEL BUCKNER/VARIETY/SHUTTERSTOCK; MILLER: BETH DUBBER/NETFLIX; UNBELIEVABLE: SMITH: ERIK PENDZICH/SHUTTERSTOCK LAUREN/DEADLINE/SHUTTERSTOCK; CHELSEA SARACHO: LAUREN/VARIETY/SHUTTERSTOCK; CHELSEA SAJI:

VARIETY 27 CONTENDERS

Esta Spalding Liz Tigelaar Lena Waithe David Weil Austin Winsberg ‘On Becoming a God in ‘Little Fires Everywhere’ ‘Boomerang’; ‘Twenties’ ‘Hunters’ ‘Zoey’s Extraordinary Central Florida’ Playlist’

“‘Normal People’ all the way. “‘Better Things’ because it’s “I devoured the mesmerizing “‘Little America’ gets a big shoutout This show simply gutted me. It always surprising, always moving ‘Watchmen.’ It has a kind of cosmic “I was blown away by ‘Watchmen.’ from me. I loved every eclectic, cin- transported me — so fully and and never ceases to make me greatness — balancing a constella- The complex themes and narra- ematic episode of this open-heart- completely — into their relation- feel something. I love how uncon- tion of urgent ideas with deftness tives that show weaved together ed anthology series. Based on true ship, into whatever time and place ventional it is. I also think the and soul and enormous heart, all were truly impressive. And Mark stories of American immigrants (a they found themselves in — be it writing is extremely vulnerable, without buckling under the weight Ruffalo is giving TWO master class- Nigerian student who becomes a adolescence, college or the Italian which is what keeps me coming of its multitudes. Which is no es in acting every week on ‘I Know cowboy, a 12-year-old spelling bee countryside. It felt intimate and back for more.” surprise as it’s written in part by This Much Is True.’ I am in complete champ who manages his parents’ quiet yet epic and important all at two of the most talented writers awe of him.” Utah motel after they’re deported), once as it explored, so beautifully I know — Stacy Osei-Kuffour and it also has a divine soundtrack.” and tragically, how it feels to exist Cord Jefferson.” in the world. Its critical success also throws open doors for what a half-hour character drama can be.”

COMING OF AGE Paul Mescal brought to life Connell from Sally Rooney’s novel “Normal People.” CK; WEIL: MEDIAPUNCH/SHUTTERSTOCK; WINSBERG: DANIELLE LEVITT/NBC; NORMAL PEOPLE: ENDA BOWE/HULU ENDA NORMAL PEOPLE: LEVITT/NBC; DANIELLE WINSBERG: WEIL: MEDIAPUNCH/SHUTTERSTOCK; CK;

“‘NORMAL PEOPLE [ON HULU IS] SUCH EXQUISITE STORYTELLING, THE CINEMATOGRAPHY IS UNBELIEVABLE, AND THOSE PERFORMANCES — THEY’RE INSPRIRED.”

Tanya Saracho SPALDING: ROBERT ASCROFT/SHOWTIME; TIGELAAR: DAVID BUCHAN/VARIETY/SHUTTERSTOCK; WAITHE: RICHARD SHOTWELL/INVISION/AP/SHUTTERSTO WAITHE: BUCHAN/VARIETY/SHUTTERSTOCK; DAVID TIGELAAR: ASCROFT/SHOWTIME; ROBERT SPALDING:

28 VARIETY DAVEED DIGGS

IT’S ABOUT THE WORK

TUNE IN JULY 17 & 24 8 PM PDT

& ON PBS STATIONS NATIONALLY CHECK YOUR LOCAL LISTINGS ADDITIONAL CONVERSATIONS AVAILABLE NOW ON VARIETY.COM

ANTHONY MACKIE

KERRY WASHINGTON & SANDRA OH DAN LEVY & KIERAN CULKIN ZENDAYA & MJ RODRIGUEZ CHACE CRAWFORD & PENN BADGLEY PAUL RUDD & CHRIS EVANS REGINA KING & REESE WITHERSPOON HUGH JACKMAN & ANNE HATHAWAY JENNIFER ANISTON & LISA KUDROW NICOLE KIDMAN & RUSSELL CROWE PAUL MESCAL & NICHOLAS HOULT RAMY YOUSSEF & TESSA THOMPSON CLAIRE DANES & DAMIAN LEWIS HENRY CAVILL & PATRICK STEWART DAVEED DIGGS & ANTHONY MACKIE CONTENDERS AT-HOME ACTING ADDS NEW SKILLS TO RESUMES

PRODUCING ORIGINAL CONTENT DURING THE CORONAVIRUS PANDEMIC PROVIDED FRESH CHALLENGES FOR PERFORMERS WHILE IMPARTING THE IMPORTANCE OF COLLABORATION

By Will Thorne

SIMONE MISSICK, but they also had to takee oonn THE GANG’S like bblind acting.” was the easy part; the acting ALL HERE the star of CBS legal myriad jobs usually leftt to propro-- “T“There was a moment where hurdle they had to get over Mike Schur drama “All Rise,” fessional crew members.s. brought the our ddirector Michael Robin was performing alone in their received a meat mallet in the In addition to receivinging entire cast said, ‘Simone, Jessica [Cama- space, with only the show’s mail during quarantine. props from production thatthat she of “Parks and chocho]] iis on that side of the producers and director walk- Recreation” back Missick doesn’t eat meat; then had to keep track oof,f, Mis-Mis- together for a screscreen.’e I was like, ‘No she’s ing them through the scene via it was a prop that her charac- sick had to do her own wward-ard- new, original not, II’m looking at where Jes- a Zoom call. ter used in the place of a gavel robe, hair and makeup forfor the episode five sica iis,’” Missick recalls. “So I “I was improvising with years after the during the show’s virtual finale, at-home shoot. She set up her NBC sitcom had ttoo cut out pictures of every- imaginary ghost versions of which was shot entirely in the own shots, which for thee hour- signed off. one iinn the scene and tape them the characters,” says Aubrey actors’ homes. long episode utilized multipleultiple to ththee screens in order to be Plaza. “Some of that works Other shows, including rooms in her home, includ-lud- aableble tto make sure that my eye- because they could then go to Apple TV Plus’ “Mythic Quest: ing a staircase. And shee had to llineine wasw correct, which is hard someone else and say, ‘Aubrey Raven’s Banquet,” NBC’s “Parks find ways to give herselff cues, whewhenn it comes to emotion and improvised this, so maybe you and Recreation” and VH1’s rather than relying on hflher fel- connection and catching all of could respond to that.’ It was “RuPaul’s Drag Race” have now low actors’ physicality or even those little beats that someone a lengthy, backwards way of shot remotely produced epi- eyelines, since there was no might do.” improvising, but once we got sodes too, and in each case, the one in the room with her. For the cast of “A Parks and going it was a bit freeing.” actors or contestants had to not That latter element was one Recreation Special” had return- The key in shooting scenes only improvise and roll with of the biggest challenges, she ing to their characters five where they couldn’t see their the punches to get the job done, says, because it was “almost years after the series’ finale fellow actors was to “trust the NBC NBC

30 VARIETY direction,” Retta says. Wearing multiple hats while shooting the special “Quaran- tine” episode of “Mythic Quest” was not a new phenomenon COURT MUST GO ON for Rob McElhenney, who not Marg Helgenberger only stars in the show but also (top) and Simone serves as co-showrunner and Missick helped “All directed the episode. He says Rise” tackle how modern technology he found the energy of such can allow a case to be a shoot exhilarating because tried remotely. the quick turnaround required him and the rest of his cast and crew to “move at 100 miles per hour.” Just as Missick had her hus- band, actor Dorian Missick, home to help her with shooting “All Rise” (he also guest starred in the episode), McElhenney’s wife, actor Kaitlin Olson, proved to be integral to the process of “Mythic Quest: Quarantine.” “Kaitlin was operating the camera — she was behind the monitor display just watching. It was not in the script that I should be naked, but she was the one that said, ‘You should just do a take where you reveal at the end that you’ve been naked the entire time,’” McElhenney says of a scene that features his char- acter, video-game developer Ian Grimm doing a company video meeting from his hot tub. “I was like, ‘I don’t know if that’s going to play, it might be kind of gross,’ and she said, ‘It’s definitely gross, but you should do it anyway,’” he continues. “Nobody really knew until they saw the final cut.” While scripted perform- ers had multiple days of shoot- ing and plenty of takes to get their performances right, Jaida Essence Hall, who was crowned the winner of “RuPaul’s Drag Hall says all the finalists “I WAS reaction — for the audience — helped her prove she could Race” Season 12 in the series’ received “the same equip- IMPROVISING it just builds you up like a hero “serve it up from anywhere.” first-ever virtual finale, had ment” from the show, in order WITH almost,” she says. “We didn’t But for everyone, producing art, only one shot at knocking it out to “make sure that everything IMAGINARY have a crowd — we didn’t have mostly alone, at home, proved of the park. was the same across the board.” GHOST that cushion of support — but I to be a sobering reminder about What was especially compli- Then it was up to the queens thought if I want to win, I have to the importance and beauty of VERSIONS cated for the drag queen to pull out their best look and find the inner strength and just collaboration. OF THE was that she and her fellow final- choreography. turn it and give everything that I “It’s humbling and it reminds ists only had a small (8 foot by 8 Hall has worked at bars that CHARACTERS.” got. When I was about to go on, I you why you’re doing this in the foot) space in which to perform have small stages, so she was no thought, ‘This is your moment, I first place,” Plaza says. “When Aubrey Plaza their final lip-sync to “Survivor” stranger to having to “work and don’t care who’s out there cheer- you work on a show, you work by Destiny’s Child. This required turn it out” in a limited space. ing you on, just imagine all the with professionals who are so more focus on face and tight What was new was having to people who love you, lifting you good at their job, and you just movements, whereas usual dance on carpet — and not hav- up right now, and just kill it.’” have such an appreciation of performances on the show ing the energy of a live audience For Hall, successfully “giv- what goes into it.” see queens utilizing the off of whom to feed. ing it the most” from home and Danielle Turchiano contributed to whole runway. “I always live for the winning the crown and the title this report. CBS CBS

VARIETY 31 CONTENDERS

2020 EMMY WRITERS’ EDITION WORDS OF WISDOM

PARTICIPANTS FROM VARIETY’S ANNUAL NIGHT IN THE WRITERS’ ROOM EVENT SOUND OFF ON THEIR CRAFT AND EMMY-CONTENDING SHOWS

32 VARIETY KERRY EHRIN

‘THE MORNING SHOW’

“I’M TELLING A STORY THAT IS PERSONAL TO ME OR OF MY LIFE. IT MAY BE PUT IN THE SHAPE OF THAT [NEWS] STORY — IT MAY HAVE TO DO WITH SEXISM OR PREJUDICES THAT PEOPLE HAVE — BUT I THINK IT HAS TO COME FROM A FOUNTAIN OF YOUR OWN. I THINK THAT KEEPS IT ORGANIC AND KEEPS IT FRESH, AS OPPOSED TO SAYING … ‘I HAVE AN ATTITUDE ABOUT THAT THING THAT HAPPENED.’” EHRIN: EVAN AGOSTINI/INVISION/AP/SHUTTERSTOCK EHRIN: EVAN

ATTICA LOCKE

‘LITTLE FIRES EVERYWHERE’

“I ACTUALLY THINK ALL OF THE KAREN MEMES THAT WE’RE SEEING IN 2020, IT HAS ITS ROOTS IN THE ’90S WHERE EVERYBODY FEELS LIKE THEY ARE ABOVE BEING RACIST, AND THEIR BEHAVIOR IS UNCHECKED BECAUSE THEY’VE DECIDED THAT IN THEIR HEARTS THEY’RE OK. AND I THINK THAT ELEMENT OF THE 1990S JUST BRED AND LED US ALL THE WAY TO WHERE WE ARE NOW, AND I THINK IT WAS A PERFECT TIME PERIOD TO LOOK AT THE CASUAL DANGERS OF WHITE LIBERALISM.”

VARIETY 33 CONTENDERS

ISSA RAE

‘INSECURE’

“IF I HAD TO GO BACK, I WOULD FOR SURE NAME THE CHARACTER SOMETHING ELSE. THIS CHARACTER IS A YOUNGER VERSION OF ME, BUT IT’S NOT MY LIFE IN PARTICULAR — IT’S BASED OFF OF FRIENDS OF MINE. BUT MY HEART DROPS WHENEVER I JUST CASUALLY LOG INTO TWITTER AND SEE PEOPLE TALKING SHIT ABOUT ME. … PEOPLE BEING ANGRY WITH THE CHARACTER. IT’S BEEN A DISCONNECT FOR SURE, BUT I’M ENTIRELY TO BLAME.” RAE: TAYLOR JEWELL RAE: TAYLOR

TANYA SARACHO ‘VIDA’

“I’M A BIG BELIEVER IN, ‘NO STORIES ABOUT US, WITHOUT US’ RIGHT NOW IN THIS MOMENT IN TIME BECAUSE OUR NARRATIVES HAVE BEEN HELD BY OTHER PEOPLE. AND IT’S SO ARTIFI- CIAL AND SO POISONOUS TO CON- SUME AN IMAGE OF YOURSELF TOLD BY THE DOMINANT CULTURE, USUALLY. IT REALLY HARMS A COMMUNITY.”

34 VARIETY JONATHAN NOLAN DAVE BURD

‘WESTWORLD’ ‘DAVE’

“WE HAVE DESTROYED ANY SENSE OF COLLECTIVE TRUTH “I CAN ONLY SHOW SO OR UNDERSTANDING OF THE WORLD. WE HAD AN IDEA MUCH ABOUT WHO I AM IN ‘WESTWORLD’ SEASON 3, AND WE DIDN'T QUITE GET THROUGH MY MUSIC AROUND TO THIS IDEA, BUT IF IN 30 YEARS IF YOU WANT AND MY MUSIC VIDEOS, THE TRUTH, IT WOULD BE VERY EXPENSIVE. AND ONLY THE AND I FEEL LIKE MY WEALTHIEST PEOPLE WILL HAVE ACCESS TO THE IDEA OF FAVORITE THING WHEN I WHAT THE FUCK IS ACTUALLY HAPPENING IN THE WORLD.” READ ABOUT MY SHOW IS, ‘I ACTUALLY HATED LIL DICKY, BUT THEN I WATCHED THE SHOW AND I LIKE HIM.’ ... I FEEL LIKE THE SHOW REALLY GIVES ME AN OPPORTU- NITY TO CONTEXTUAL- IZE THE DECISION-MAK- ING BEHIND THINGS THAT I MAY DO AS LIL DICKY THAT ARE MORE EASILY DISMISSIBLE.”

JOEY SOLOWAY

‘TRANSPARENT MUSICALE FINALE’

“WHEN MY PARENT FIRST CAME OUT, OUR VERY FIRST IDEA BEFORE ‘TRANSPARENT’ WAS A DOCUMENTARY MUSICAL WHERE WE WERE GOING TO BE PROCESSING EMOTIONALLY THE NEWS OF MY PARENT’S TRANSNESS, AND MY SISTER FAITH WAS GOING TO BE IMPROVISING SONGS. WE WEREN’T ABLE TO SELL THAT, AND THEN I WROTE ‘TRANSPARENT’ THE TV SHOW [BUT] THERE WAS LIKE A MUSICAL THAT WAS ALWAYS KIND OF TRY- ING TO PUSH ITS WAY TO THE FOREFRONT.” NOLAN: PHOTOGRAPH BY DAN DOPERALSKI; SOLOWAY: JESSE CHAMBERLAIN JESSE SOLOWAY: DOPERALSKI; DAN BY NOLAN: PHOTOGRAPH

VARIETY.COM 35 CONTENDERS

GREG DANIELS

‘SPACE FORCE’; ‘UPLOAD’

“‘UPLOAD’ WAS MY TOTAL PASSION PROJECT, SO I REALLY AP- PROACHED IT LIKE, ‘WHAT WOULD ENTERTAIN ME THE MOST? WHAT WOULD I WANT TO WRITE [AND] SEE?’ IT’S SCIENCE FICTION, THERE’S A MYSTERY STORY, THERE’S A LOVE STORY — IT’S A LOT OF GENRES, AND I THOUGHT A LOT ABOUT MY FAVORITE BOLLYWOOD MOVIES THAT JUST THROW EVERYTHING AT THE SCREEN LIKE, ‘YOU'RE ONLY GOING TO SEE ONE MOVIE A YEAR, YOU’RE GOING TO BE ENTERTAINED.’”

NICHELLE TRAMBLE SPELLMAN

‘TRUTH BE TOLD’

“PEOPLE HAVE TO TAKE A DEEPER LOOK AT THE DIVERSITY SLOT. AND IN MY MIND, IT GOES TO NOT JUST WHO YOU HIRE BUT WHAT YOUR WORLD LOOKS LIKE. ... IF YOU’RE CHECKING A BOX TO HIRE SOMEBODY, THAT PERSON REMAINS AN OTHER. BUT IF YOUR LIFE LOOKS FULL AND YOUR LIFE LOOKS LIKE THE WORLD, THEN YOU DON’T HAVE TO SECOND-GUESS WHEN HIRING.”

DAMON LINDELOF ‘WATCHMEN’

“IT’S NOT REVELATORY FOR ANYONE IN THE YEAR 2019 TO SAY THAT RACE AND POLICING ARE THE NO. 1 PROB- LEM IN AMERICA. MAYBE IT JUST MAKES A LITTLE MORE NOISE BECAUSE A WHITE GUY SAID IT. BUT PEOPLE OF COLOR HAVE BEEN SAYING IT FOR AS LONG AS I HAVE BEEN ALIVE, AND I’M JUST GLAD WE’RE HAVING THESE CONVERSATIONS IN THE CONTEXT OF OUR ART RIGHT NOW BECAUSE THEY’RE LONG OVERDUE.” DANIELS: KATIE YU/AMAZON STUDIOS/KOBAL/SHUTTERSTOCK; LINDELOF: MEDIAPUNCH/SHUTTERSTOCK LINDELOF: STUDIOS/KOBAL/SHUTTERSTOCK; YU/AMAZON KATIE DANIELS:

36 VARIETY MIGIZI PENSONEAU ‘BARKSKINS’

“THE THING THAT PEOPLE GET WRONG, ESPECIALLY ALL THE TRIBES OF AMERICA BUT ALSO ALL ACROSS NORTH AMERICA, IS THAT WE ARE ONE AMALGAM OF NATIVES. WE DON’T REALLY CONSIDER OURSELVES A RACE, IN TERMS OF POLITICALLY; WE ARE A LOT OF DIFFERENT NATIONS WITH OUR OWN LANGUAGES, CULTURES, ALL WITHIN THAT FRAMEWORK OF NATIVE AMERICANS OR INDIGENOUS AMERICANS OR FIRST NATIONS IN CANADA.”

COURTNEY LILLY ‘BLACK-ISH’

“‘BLACK-ISH’ HAS BEEN ON FOR SIX SEASONS BUT IT [FEELS] LIKE STORIES THAT WE’VE BEEN TALKING ABOUT, THE CULTURE OF THE COUNTRY IS NOW READY TO HEAR THEM. [ABC] RE-AIRED OUR EPISODE ‘HOPE,’ WHICH KENYA [BARRIS] BRILLIANTLY WROTE, AND THE REASON THEY COULD RE-AIR IT WAS BECAUSE IT’S A TIMELESS EPISODE ABOUT A FAMILY DEALING WITH SOMETHING BLACK FAMI- LIES HAVE BEEN DEALING WITH SINCE THE BEGINNING OF OUR TIME HERE.”

ERIC KRIPKE ‘THE BOYS’

“I’M MAKING A SHOW THAT ONLY PRETENDS TO BE A SUPERHERO SHOW; WE’RE A DARK SATIRE OF LATE-STAGE CAPITALISM. IT’S USEFUL BECAUSE WE HAVE AN OUTLET FOR OUR DAILY RAGE, AND IT’S NICE TO HAVE A JOB WHERE YOU CAN PROCESS THAT. ... IT’S OUR JOB TO ENTERTAIN PEOPLE, BUT IF I CAN GET A COUPLE OF YOUNG PEOPLE WATCHING, THINKING ABOUT AUTHORITY IN A NEW WAY OR NOT TRUSTING SOCIAL MEDIA AS MUCH, THEN THAT’S PART OF OUR STORYTELLING.” LILLY: MICHAEL BUCKNER/VARIETY/SHUTTERSTOCK; KRIPKE: TODD WILLIAMSON/JANUARY IMAGES/SHUTTERSTOCK WILLIAMSON/JANUARY KRIPKE: TODD MICHAEL BUCKNER/VARIETY/SHUTTERSTOCK; LILLY:

VARIETY 37 CONTENDERS

MARK BOMBACK ‘DEFENDING JACOB’

“THE ONE THING ABOUT HAVING GREAT SOURCE MATERIAL IS YOU HAVE A SILENT PARTNER THAT YOU CAN ALWAYS TURN TO IF YOU’RE STUCK IN A MOMENT … BUT AT THE END OF THE DAY, NO ONE’S LOOKING FOR SOMEONE TO JUST TRANSCRIBE A BOOK AND STRETCH IT OUT FOR EIGHT HOURS. THE JOY OF WATCHING SOMETHING IS THAT SOMEONE’S CREATING IT FOR YOU.”

LIZ TIGELAAR ‘LITTLE FIRES EVERYWHERE’

“WHAT I LOVED ABOUT THIS STORY, BY THE END THESE FIVE TEENAGERS LEARN SOMETHING SIG- NIFICANT AND IN EACH FAMILY THEY LEARNED IT IN COMPLETELY DIFFERENT WAYS. YOU HAD THIS COLLECTIVE HOPE THAT THEY WERE GOING TO BE BETTER THAN THEIR PARENTS WERE, AND I THINK THERE IS SOMETHING COMPLETELY UNIVERSAL ABOUT THAT COLLECTIVE HOPE.”

CORD JEFFERSON ‘WATCHMEN’

“IF YOU’RE TALKING ABOUT THE WAYS IN WHICH AMERICA HAS TREATED ITS BLACK CITIZENS, I THINK THAT UNFORTUNATELY IT’S VERY SIMILAR TO HOW IT WAS TREATED 100 YEARS AGO AND 200 YEARS AGO. WE WANTED TO WRITE A SHOW THAT SHED SOME LIGHT ON HISTORY AND THE WAYS IN WHICH HISTORY COMES BACK AND HAUNTS EVERYONE. SO FOR ME IT’S NOT NECESSARILY THAT THE SHOW IS PRESCIENT, IT’S THAT HISTORY IN AMERICA IS PRESCIENT.” BOMBACK: DAVID BUCHAN/VARIETY/SHUTTERSTOCK DAVID BOMBACK: LIZ FELDMAN ‘DEAD TO ME’

“BEING IN THE WRITERS’ ROOM IS THE BEST PART OF THE JOB. GETTING TO HAVE COMMUNITY IN PERSON WITH OTHER WRITERS WHO YOU ADMIRE FOR THEIR BRAINS AND THEIR ENERGY, PEOPLE YOU JUST ENJOY BEING AROUND — LITERALLY, PHYSICALLY BEING AROUND — I’M ALREADY GRIEVING THE LOSS OF THAT. THERE IS AN ENERGY WHEN YOU ARE PITCHING IN A WRITERS’ ROOM THAT I’M NOT SURE TRANSLATES TO ZOOM.”

ALENA SMITH ‘DICKINSON’

“IN SEASON 2 OF ‘DICKINSON,’ WE REALLY WENT FOR IT, IN TERMS OF SPECTACLE AND BEAUTY, AND IT FIT WITH THE THEMES THAT WE WERE PLAYING WITH … BUT I’M REALLY EXCITED ABOUT THE POSSIBILITY OF A SEASON 3 THAT’S REALLY HUMBLE AND SMALL AND PULLED-IN. BECAUSE THEY’RE GOING THROUGH THE CIVIL WAR AND THAT WOULD FEEL TRUTHFUL TO WHAT THE CHARAC- TERS ARE FEELING.”

ALEX GARLAND

‘DEVS’

“PREVIOUSLY IN MY CAREER, I’D OFTEN WRITTEN SOMETHING OR MADE A MOVIE AND THEN DELIVERED IT AND AT THE MOMENT OF DELIVERY THERE WAS A DISMAYING MOMENT OF SURPRISE FOR THE DISTRIBUTOR WHEN THEY REALIZED WHAT THEY HAD. I THINK IT’S POSSIBLY BECAUSE I USE TRICKS TO MAKE MY SCRIPTS READ EASILY, AND I THINK IT IMPLIES A SLIGHTLY MORE EASYGOING THING IN THE FINISHED PRODUCT.” FELDMAN: PHOTOGRAPH BY SHAYAN ASGHARNIA; ASGHARNIA; SHAYAN BY FELDMAN: PHOTOGRAPH CHRIS PIZZELLO/INVISION/AP/SHUTTERSTOCK GARDLAND:

VARIETY 39 CONTENDERS

MICHELLE KING

‘THE GOOD FIGHT’

“I FIND IT BAFFLING THAT HOLLYWOOD HAS DISCOVERED RACISM [A FEW] WEEKS AGO AND ALL THESE FOLKS FEEL LIKE THEY SHOULD BE HAVING THESE CONVERSATIONS. HOW IS THAT POSSIBLE? I WOULD LOVE TO BE OPTIMISTIC, BUT I’M VERY AWARE THAT TWO YEARS AGO THEY ALL DISCOVERED SEXISM AND SEXUAL PREDATION, AND I GO TO PITCH MEET- INGS NOW AND THERE ARE MORE MALE EXECUTIVES THAN THERE WERE 10 YEARS AGO.”

PETER GOULD ‘BETTER CALL SAUL’

“WITH SERIALIZED SHOWS, THE ENDING SEEMS TO BE VERY, VERY IMPORTANT TO PEOPLE — AND RIGHTLY SO: WHEN YOU READ A BOOK, THAT LAST CHAPTER, YOU HOPE THAT’S GOING TO LEAVE YOU WITH SOMETHING. SO THE BAR IS SET REALLY HIGH [FOR ‘SAUL’]. I HOPE WE DON’T SCREW IT UP, BUT I’M WORKING WITH SOME REALLY BRILLIANT PEOPLE AND ALSO SOME PEOPLE WHO HAVE A REALLY GREAT EYE FOR DETAIL.” CHRIS MUNDY

‘OZARK’

“WE’VE TAKEN BARELY A MILLIMETER OF A STEP. SO THEN IT NEEDS TO BE SUSTAINED LIKE ACTIVISM, INSTEAD OF JUST, ‘OK WE’VE LEARNED SOME THINGS, LET’S IMPLEMENT IT.’ AND THAT TAKES STAMINA. IT’S A MATTER OF THAT. I HAVE TWO TEENAGE DAUGHTERS WHO JUST SPEAK VERY FLUIDLY IN THIS WITHOUT THINKING ABOUT IT — IT’S JUST PART OF THE WAY THEY BREATHE — WHICH FEELS GOOD ... BUT LET’S SEE IF WE’RE HAVING THIS CONVERSATION AGAIN IN A YEAR.” KING: CBS; GOULD, MUNDY: PHOTOGRAPHS BY DAN DOPERALSKI (2) DOPERALSKI DAN BY PHOTOGRAPHS MUNDY: KING: CBS; GOULD,

40 VARIETY ELWOOD REID ‘BARKSKINS’

“THE GESTATION PERIOD FOR ALMOST ALL PROJECTS FOR ME IS ALONE, WRITING IN A ROOM. THAT’S WHEN I GET MY WORK DONE. ... WRITING DOESN’T GET DONE IN THE WRITERS’ ROOM. THINKING ABOUT WRITING AND TALKING ABOUT IT GETS DONE — AND LUNCH ORDERING. BUT BEING ALONE IS ACTUALLY HELPFUL, TO ME AT LEAST.”

TARELL ALVIN MCCRANEY

‘DAVID MAKES MAN’

“WITH DAVID, THE CHAR- ACTERS AROUND DAVID, THEY’RE USED TO BEING IN SURVIVOR MODE. AND WHAT DOES THAT DO SUSANNAH GRANT TO YOUR DEVELOPMENT, GROWING UP IN A SOCIETY ‘UNBELIEVABLE’ THAT HAS YOU ALWAYS “WHENEVER WE RELEASED THIS SHOW, TRYING TO LOOK FOR SUR- IT WOULD HAVE BEEN RELEVANT VIVAL? ... WE ARE WORKING BECAUSE VIOLENCE AGAINST FEMALE WITH A CHARACTER WHO BODIES IN OUR CULTURE HAS BEEN CARRIES AROUND … TRAU- AROUND AS LONG AS THIS COUNTRY MAS … DEFENSE MECHA- HAS BEEN AROUND. [BUT] THERE IS NISMS, AND SO WE DO GET A SENSE OF A COLLECTIVE RECKON- TO [INFUSE] INTO THEM, ING ... AND I THINK EVERYBODY WAS ‘WHAT DOES THE WORLD AWARE OF THAT WHEN WE WERE FIRST LOOK LIKE FOR A PERSON STARTING THE SHOW. IT WAS THE LIKE THAT, AND DO WE CRASHING OF A WAVE.” WANT TO JUST SURVIVE, OR DO WE WANT TO LIVE?’” MCCRANEY: ROBBY KLEIN/CONTOUR BY GETTY IMAGES BY KLEIN/CONTOUR ROBBY MCCRANEY:

VARIETY 41 CONTENDERS

Guilty Pleasure: “Billions” “I started from the beginning. What a marvelous show and the funny part of it is that I don’t understand a quarter of what the hell they’re talking about. Because it’s stocks and bonds and ‘We’re going to short that,’ and I’m say- ing, ‘What the hell does “short” mean?’” Moreno says. “So I called my daughter and said, ‘What do you do when you’re shorting?’ But the acting, God, it’s diabolical, isn’t it? It’s incredible. Maggie Siff, who plays the psychiatrist, is mar- velous. She’s so controlled.”

Deep Cut: “Unbelievable” “I’m so sorry that it ended so quickly, I just loved it, it’s marvelous. The writing is so sensational. And Kaitlyn Dever is such a find,” she says. “My daughter hooked me onto this. She said it was one of the best shows she’s ever seen, and she was right. There’s so much great writing on NBC television right now. It puts too many movies to shame.” Michael Schneider Rita Moreno’s TV Picks

THE “ONE DAY AT A TIME” star and EGOT winner 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 Show Mate: “The West Wing” mate” — in other words, the TV series she couldn’t live without. “It had so many different aspects to it, which were covered so beautifully in an episodic way. ‘The West Wing’ really included all walks of life. It had to because it was political. And ‘West Wing’ had some of the best lighting on television. Those long walks, where they walked down the halls and you would pass open doors of rooms, even there, the lighting Variety, VOL. 348, NO. 19 (USPS 146-820, ISSN 0011-5509) is published weekly, except the fourth week of June, the first week in July, and the fourth and fifth weeks in December, with 40 special issues: Jan (8), Feb (8), June (7), Aug (6), Nov (5) and Dec (6) by Variety Media LLC, 11175 Santa Monica Blvd., Los Angeles, CA 90025, was careful. Maybe it’s because I’m from another era, but the a division of Penske Business Media. Periodicals postage paid at Los Angeles, CA and at other mailing offices. Postmaster send address changes to: Variety, P.O. Box 15759, North Hollywood, CA 91615-5759. Canada Post International Publications Mail Product (Canadian Distribution) Publications Mail Agreement No. one thing that I don’t like about current television is that the 40043404. Return undeliverable Canadian addresses to: RCS International Box 697 STN A, Windsor, Ontario N9A 6N4. Sales agreement No. 0607525. Variety

©2020 by Variety Media, LLC. Variety and the Flying V logo are trademarks of Penske Business Media. Printed in the U.S.A. lighting is so harsh.” WING: WEST BETH DUBBER/NETFLIX; UNBELIEVABLE: BILLIONS: JEFF NEUMANN/SHOWTIME; CHRIS PIZZELLO/INVISION/AP/SHUTTERSTOCK; MORENO:

42 VARIETY Untitled-2 1 6/30/20 10:32 PM GOLDEN GLOBE® WINNER BEST DRAMA SERIES

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