
Our April 20 THC and cannabis guide, from craft sodas to Seth Rogen, part II
Our April 20 THC and cannabis guide, from craft sodas to Seth Rogen, part II
April 20 is a hallowed day for pot smokers. But thanks to recent developments, cannabis's quasi-holiday extends to seltzer drinkers and snackers as well.
Marijuana is legalized for recreational use in 24 states. Moreover, the 2018 Farm Bill made THC products legal across the country as long as they're sourced from hemp and contain no more than 0.3 percent THC by volume. That's led to an explosion of gummies, seltzers, sodas, coffees, teas and tinctures that promise low-key highs and low-calorie buzzes.
I'm gonna write about all the best nationally legal THC I had this past year, but since there's so much I had to split this guide into three parts. The opener went live Friday. Part III will be here Sunday (right on time). But for today, let's talk about some of the seltzers and gummies that stood out most.
If you're looking for a traditional gummy experience: Canna River
These clock in heavy; at 10 milligrams of THC and 20 of CBD, this is an edible best eaten in pieces. Five milligrams of each, taken together generally gets me in a pretty good spot. Let's see how this hits.
All three flavors are your standard THC gummy. The flavors -- apple, melon (which is, unfortunately, named Major Melonz, ooooof) and blue raspberry -- are slightly tart and sweet, dusted with tiny white crystals of sugar. They're roughly the size of 1.5 Haribos but have much more give, squishing into a dense paste rather than settling in for a brief detour of chewiness.
The fruit flavor is sweet and artificial and true to gummy form. There's a minor botanical THC tinge, but all that tells you is you're not dealing with candy. It doesn't impede the flavor on any of the three Canna River varieties.
Despite the potency, the THC rolls in slowly. After about half an hour my brain is slightly blurry. I can hear slight patterns in the white noise I use to help fall asleep. My brain has unlocked special powers, absolutely none of which are helpful on a regular basis. These are, suffice to say, good things.
If you're looking for a tremendous amount of THC (that you'll almost certainly have to share with friends): Crescent-9
Crescent-9 has a wide array of sodas and seltzers at a wide array of dosages. But what stands out most are 50 milligram cans I wound up parceling out two ounces at a time. Not only did they deliver a potent amount of THC in a small package, but they tasted good enough to stand up on their own. Let's talk about the two best high-test flavors.
Raspberry Lime: A-
Right away I've got a problem. This can has 50 milligrams of THC. The label itself calls it 12 servings worth of cannabis. There isn't a chance in hell I'm gonna put this down in one night. So why is it carbonated and in a non-resealable container?
Well, I get to drink it flat again tomorrow, it seems. The first impression isn't great; the smell coming off my two-ounce pour is aggressively tart and a little weedy. That's to be expected with a raspberry lime THC drink, but it's slightly off-putting.
It tastes better than it smells, hitting the notes of a craft soda before a cannabis current leaves a ring around the last remnants on your lips. It's acidic but balanced well enough with real sugar. It clocks in at 100 calories for the can, which isn't too bad and even better when you consider that's only around 16 to 18 calories per serving.
It seems to take effect early; about one ounce and 15 minutes in I'm feeling a bit hazy. Once finished, it does a wonderful job guiding me into weird dreams before I even know I'm asleep. Perfect.
Also, it holds up relatively well on day two. The bubbles are less, but there are still enough there to be enjoyable.
Jetlife Grape Lemonade: A-
Once again we're dealing with a high-test drink. And once again, it's carbonated even though it's lemonade. Huh. Well, at least it's a unique flavor. Growing up in Rhode Island means getting accustomed to all sorts of Del's frozen lemonade flavors, but I don't think I ever had grape.
It pours slightly purple. It smells like SweetTarts. There's no weed-y undercurrent, which is promising. This pours like two ounces of candy with a little bit of Vernor's ginger ale lurking somewhere in those bubbles.
The first sip backs this up. Not the ginger, but the candy. It's sweet and slightly tangy. A little dense, but not in a way that's a problem. You do get a little bit of a cannabis taste, but you might miss it if you aren't looking for it. It's grape up front, then some acidic lemon. It's well balanced and neither side is overpowering.
If you're looking for a craft soda to get you hazy: Mary Jones
From our holiday gift guide:
It pours exactly like you'd expect a full-sugar cola. It's dark and effervescent, with bubbles jumping from the top of a glass filled with ice. That sweetness permeates the smell coming off the top of the pour, but there's just enough of a minor THC current to let you know this isn't regular soda. It's not especially weed-y, necessarily, but you can tell there's cannabis lurking inside.
The soda is sweet enough to be a bit of a shock for me, a guy who mostly drinks diet sodas to avoid cramming down 300 extra calories of caffeinated drinks every weekday at 2 p.m. It's not sickly or overwhelming, but it does stick to your teeth just enough to let you know you're dealing with real sugar.
The taste is a lovely cola blend -- cinnamon, vanilla, nutmeg and whatever else I can use that sounds better than "tastes like Coke." That cinnamon/vanilla is handled gently and well balanced, leaving this as exactly the kind of soda you'd expect from a craft brewer that's been around for decades. It's not quite good enough to supplant my favorite non-THC cola -- Sprecher's Puma Kola, hello -- but it's tasty as hell.
If you want a social cannabis drink (or just want that trademark Seth Rogen chuckle): Houseplant
At only three milligrams of THC per can, Rogen's brand of cannabis seltzers are more of a social drink than some of the other standouts in the category. The idea is that you could have a couple (or more) before getting too high -- something that's much more difficult when you're locked in to 10mg or more per 12 ounces. The downside is that I use these as a sleep aid. Drinking even one can of fizzy water before bed is gonna mean waking up in the middle of the night, so it's slightly less convenient for me.
Black Cherry: B
It pours clear with modest carbonation. It smells exactly like artificial black cherry. This is what I'm looking for; a drink that simulates old school, off-brand black cherry sodas.
It's not sweet enough to fulfill that dream, but the cherry flavor is much more full bodied than you'd get in most seltzers. It's a bit tart, but there's enough sugar-ish influence that the end result is balanced. It's not complex or especially interesting, but each sip finishes dry and makes it easy to roll through a can across 15 minutes of socializing (or, in my case, watching prestige dramas I'd never heard of until three days ago on AppleTV. AppleTV: We greenlit what???).
There's very little to tell you there's cannabis involved here. Dig into the aftertaste and you get a minor, weed-y note. That's it. Otherwise this is just a less bubbly, bigger-flavored La Croix at the same calorie count. One can wasn't enough to get me very buzzed, but there is a nice minor high that clocks in after about 20 minutes.
If you're looking for some basic, but reliable flavors: Stiizy
Mango Tango: B
It pours a rich copperish orange. Ever had Irn Bru? It's a lot like that. It smells sweet and slightly creamy. Low calorie seltzers have been using the rich taste of artificial mango as a cheat code for a while now. I'm interested to see how Stiizy pushes that toward a soda like the previous two flavors.
Once again, the bubbles quickly fade and you're left with a minimally carbonated drink. Even so, the flavor is bright and clear, with some creamsicle hints of orange stepping up early before fading into a wave of mango. True to form, it's more soda than seltzer, bringing big fruit flavor and a balanced sweetness behind it.
That's a plus for me, since I like soda more than dry seltzers. It may be a disappointment for folks looking for something closer to a La Croix. But either way it delivers a nice low key buzz about 25 minutes after you've finished the can.
Caribbean Breeze: B+
We go from defined flavors to regional weather. Context clues suggest something like a rum punch without the booze. A light pink pour backs that up. It smells like tangy citrus off the top with just enough of a sugary undercurrent to feel slightly like a canned cocktail.
The first sip has... much more apple than I anticipated for a trip to the tropics. Huh. That blends with some orange and a little watermelon to create a slightly weird and ultimately sweet combination. In this case the limited carbonation helps back up the idea you're dealing with an adult fruit punch.
Like fruit punch, it's sweet and juicy and, weirdness aside, enjoyable.
If you're looking for a seltzer that gets a little weird with it (in a good way): Green Street Hi*AF
Green Street's Hi Tide margaritas are totally fine, if a little familiar. Where the brand shines is in the "amazing flavors" of Hi*AF. Those range from basic (Orange Lift) to wild, and I'm gonna single out the weirdest, best one below.
Hi*AF Tiger's Blood: B+
Let's start with the most intriguing of the Hi*AF options. Tiger's Blood doesn't say what's in the mix until you look at the ingredients. There are simplified coconut, strawberry and watermelon icons in the corner of the can, but if you're ordering this from more than a few feet away it feels like you're playing a guessing game. And that's before getting to Charlie Sheen references from nearly two decades ago.
Anyway, it pours a rich red color. It smells slightly tropical and just a little too sweet. The first sip leans into that. Cane sugar and concentrated strawberry juice are the first two non-water ingredients and, hooo buddy, they come off Slurpee-sweet when you take a big gulp.
That leaves you with more of a Fanta feel than the seltzer-y vibes of other THC canned drinks. Each sip is dense; slightly thicker than a crisp carbonated water but packed with flavor. The strawberry is first up, but the watermelon and coconut also get in some shots to keep things from getting stale early on.
That coconut leaves each sip with a slightly weird tang, but it's still a unique, full-bodied sip. Like the Hi Tide before it, it kicks in before you finish the can -- as it says on the label, six ounces counts as a serving size -- which is another point in its favor as long as you aren't trying to make it through four hours of social time. After about 90 minutes I have a lovely inability to follow my train of thought to its original destination. Which is nice.
If you're looking for a functional THC drink: Brez
Brez combines two things I do not love: elderflower and mushrooms. The brand offers the mood lifting effects of Lion's Mane fungus -- something Odyssey put in an energy drink to varying effect -- with THC and CBD. While the 12 ounce cans and its five milligrams of THC and 10 of CBD are night-night fuel for me, Brez's smaller, 7.5-ounce offerings deliver half that dosage and some generally pleasant moods.
More importantly, they taste solid. Lemon Elderflower will never be a flower combination I actively seek out, but Brez does a good job balancing sour and floral flavors with modest sweetness and sharp carbonation to make easy can easy to sip your way through.
If you're looking for a craft gummy: Hometown Hero's Double Take
Hometown Hero's Double Take gummies come in a variety of flavors. I was only to try one at press time, but it was a hit and, importantly, delivered above and beyond the THC I thought I was getting.
Double Take Gummies: Passion Fruit Guava: A-
First off, I hope the nutritional info is a misprint. One gummy is four servings. One serving is 30 calories. Granted, these gummies are roughly the size of a Danish butter cookie, but in no way shape or form should they be 120 calories each.
I'm starting with the recommended five milligrams and reserving the right to bump up to 10 if I'm not feeling much in an hour. The gummy itself is a beautiful two-tone purple and green. The taste is sweet up front, then just slightly weed-y, then leans heavily into that tropical fruit. It's not my favorite flavor -- none of the Hometown Hero offerings are mixes I'd readily seek out -- but it tastes good enough.
My doubts about the label are vacated by the potency delivered. About an hour after eating one quarter of a gummy, I begin to feel a light buzz. At 90 minutes, I am floating. This leans a bit toward the heavier effects of the five milligram doses I've had in the past, but if the numbers are off on Hometown Hero's THC count it's an underestimate.

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Culpepper (CBS) Severance, 'Chikhai Bardo," Directed by Jessica Lee Gagné (Apple TV+) Severance, 'Cold Harbor," Directed by Ben Stiller (Apple TV+) Squid Game, 'Friend or Foe,' Directed by Hwang Dong-hyuk (Netflix) The Last of Us, 'Through the Valley," Directed by Mark Mylod (HBO) The Pitt, '7:00 A.M.," Directed by John Wells (Max) The White Lotus, 'Full-Moon Party," Directed by Mike White (HBO) [WINNER] —, 'I'm a Guest Here," Directed by Ramón Rodríguez (ABC) Yellowjackets, 'Croak," Directed by Jennifer Morrison (Showtime) Best Guest Actor in a Drama Series Cheyenne Jackson, Doctor Odyssey (ABC) Danny Ramirez, The Last of Us (HBO) Ethan Slater, Elsbeth (CBS) Gong Yoo, Squid Game (Netflix) [WINNER] — Jeffrey Wright, (HBO) Joe Pantoliano, The Last of Us (HBO) Joel McHale, Yellowjackets (Showtime) John Noble, Severance (Apple TV+) Scott Glenn, The White Lotus (HBO) Yul Vazquez, Will Trent (ABC) Best Guest Actress in a Drama Series Alanna Ubach, The Last of Us (HBO) Angela Bassett, Doctor Odyssey (ABC) Catherine O' Hara, The Last of Us (HBO) D'Arcy Carden, The Handmaid's Tale (Hulu) Gwendoline Christie, Severance (Apple TV+) [WINNER] — Hilary Swank, (Showtime) Kaitlyn Dever, The Last of Us (HBO) Mary Louise Parker, Elsbeth (CBS) Merritt Wever, Severance (Apple TV+) Tracey Ullman, Black Doves (Netflix) Best Limited Series [WINNER] — (Netflix) Black Mirror (Netflix) Dope Thief (Apple TV+) Dying for Sex (FX on Hulu) Presumed Innocent (Apple TV+) The Penguin (HBO) Best Television Movie Another Simple Favor (Prime Video) Bridget Jones: Mad About the Boy (Peacock) G20 (Prime Video) [WINNER] — (Netflix) The Gorge (Apple TV+) The Supremes at Earl's All-You-Can-Eat (Hulu) Best Cast Ensemble in a Limited Series or TV Movie Adolescence (Netflix) Black Mirror (Netflix) Bridget Jones: Mad About the Boy (Peacock) Dying for Sex (FX on Hulu) G20 (Prime Video) [WINNER] — (HBO) Best Actor in a Limited Series or TV Movie Aaron Pierre, Rebel Ridge (Netflix) Brian Tyree Henry, Dope Thief (Apple TV+) [WINNER] — Colin Farrell, (HBO) Jake Gyllenhaal, Presumed Innocent (Apple TV+) Miles Teller, The Gorge (Apple TV+) Stephen Graham, Adolescence (Netflix) Best Actress in a Limited Series or TV Movie Amanda Seyfried, Long Bright River (Peacock) Anya Taylor Joy, The Gorge (Apple TV+) [WINNER] — Cristin Milioti, (HBO) Kaitlyn Dever, Apple Cider Vinegar (Netflix) Michelle Williams, Dying for Sex (FX on Hulu) Renee Zellweger, Bridget Jones: Mad About the Boy (Peacock) Best Supporting Actor in a Limited Series or TV Movie Ashley Walters, Adolescence (Netflix) Clancy Brown, The Penguin (HBO) Dan Stevens, Zero Day (Netflix) Hugh Grant, Bridget Jones: Mad About the Boy (Peacock) Javier Bardem, Monsters: The Lyle and Erik Menendez Story (Netflix) [WINNER] — Owen Cooper, (Netflix) Best Supporting Actress in a Limited Series or TV Movie AnnaSophia Robb, Rebel Ridge (Netflix) [WINNER] — Cristin Milioti, (Netflix) Deirdre O'Connell, The Penguin (HBO) Erin Doherty, Adolescence (Netflix) Jenny Slate, Dying for Sex (FX on Hulu) Ruth Negga, Presumed Innocent (Apple TV+) Best Writing in a Limited Series or TV Movie [WINNER] —, 'Episode 3," Written by Jack Thorne & Stephen Graham (Netflix) Black Mirror, 'Eulogy," Written by Ella Road and Charlie Brooke (Netflix) Dying for Sex, 'It's Not That Serious," Written by Shannon Murphy, Kim Rosenstock, and Elizabeth Meriwether (FX on Hulu) Monsters: The Lyle and Erik Menendez Story, 'The Hurt Man," Written by Ian Brennan (Netflix) Rebel Ridge, Written by Jeremy Saulnier (Netflix) The Penguin, 'A Great or Little Thing," Written by Lauren LeFranc (HBO) Best Directing in a Limited Series or TV Movie [WINNER] —, 'Episode 3," Directed by Philip Barantini (Netflix) Black Mirror, 'Eulogy,' Directed by Chris Barrett and Luke Taylor (Netflix) Rebel Ridge, Directed by Jeremy Saulnier (Netflix) The Gorge, Directed by Scott Derrickson (Apple TV+) The Penguin, 'Cent'anni," Directed by Helen Shaver (HBO) Monsters: The Lyle and Erik Menendez Story, "The Hurt Man," Directed by Michael Uppendahl (Netflix) Best Animated Series Batman: Caped Crusader (Prime Video) Harley Quinn (Max) [WINNER] — (Prime Video) Love Death + Robots (Netflix) Star Trek: Lower Decks (Paramount+) The Simpsons (Fox) Best Anime Series Dan Da Dan (Crunchyroll) [WINNER] — (Crunchyroll) Fire Force Season 3 (Adult Swim) Lazarus (Adult Swim) Solo Leveling Season 2 (Crunchyroll) The Apothecary Diaries Season 2 (Crunchyroll) Best Lead Voice-Over Performance Kaley Cuoco, Harley Quinn (Max) Alex Borstein, Family Guy: Holiday Special (Fox) Seth MacFarlane, Family Guy: Holiday Special (Fox) [WINNER] — Aleks Le, (Crunchyroll) Johnny Yong Bosch, Devil May Cry (Netflix) Stephanie Nadolny, Dragon Ball Daima (Netflix) Best Supporting Voice-Over Performance Caitlin Glass, One Piece (Crunchyroll) J.K. Simmons, Invincible (Prime Video) [WINNER] — Jack Quaid, (Paramount+) Jamie Chung, Batman: Caped Crusader (Prime Video) Justin Briner, Solo Leveling (Crunchyroll) Xolo Mariduena, Sakamoto Days (Netflix) Best Comedy or Standup Special Adam Sandler: Love You (Netflix) Ali Wong: Single Lady (Netflix) Bill Burr: Drop Dead Years (Hulu) [WINNER] — (HBO) Hannah Einbinder: Everything Must Go (HBO) Iliza Shlesinger: A Different Animal (Prime Video) Jamie Foxx: What Had Happened Was… (Netflix) Roy Wood Jr.: Lonely Flowers (Hulu) Sarah Silverman: PostMortem (Netflix) Seth Meyers: Dad Man Walking (HBO) Best Documentary TV Movie Beatles '64 (Disney+) I am Celine Dion (Prime Video) Megan Thee Stallion: In Her Words (Prime Video) Music By John Williams (Disney+) Number One on the Call Sheet (Apple TV+) [WINNER] — (Netflix) Best Docuseries or Nonfiction Series Baylen Out Loud (TLC) Bad Influence: The Dark Side of Kidfluencing (Netflix) Conan O'Brien Must Go (HBO) [WINNER] — (HBO) Shelter Me: The Cancer Pioneers (PBS) Simone Biles Rising (Netflix) Best Game Show Are You Smarter Than A Celebrity? (Prime Video) Celebrity Family Feud (ABC) Celebrity Jeopardy (ABC) Celebrity Wheel of Fortune (ABC) Jeopardy Masters (ABC) [WINNER] — (Fox) Best Reality Series Diners, Drive-Ins, and Dives (Food Network) Love is Blind (Netflix) [WINNER] — (Netflix) Selling Sunset (Netflix) The Secret Lives of Mormon Wives (Hulu) Shark Tank (ABC) Best Reality Competition Series Beast Games (Prime Video) Dancing With the Stars (ABC) RuPaul's Drag Race (MTV) The Masked Singer (Fox) [WINNER] — (Peacock) Top Chef (Bravo) Best Talk Show Everybody's Live With John Mulaney (Netflix) Jimmy Kimmel Live! (ABC) My Next Guest Needs No Introduction With David Letterman (Netflix) [WINNER] — (Comedy Central) The Late Show With Stephen Colbert (CBS) The Tonight Show Starring Jimmy Fallon (NBC) Best Variety Series or Special Beyonce Bowl (Netflix) Ladies and Gentlemen… 50 Years of Saturday Night Live Music (NBC) [WINNER] — (HBO) Saturday Night Live (NBC) Saturday Night Live: The Anniversary Special (NBC) The Oscars (ABC) The Astra TV Awards are voted on by members of the Hollywood Creative Alliance. The organization's membership includes critics, entertainment journalists, content creators, industry insiders, and creatives. Best of GoldDerby TV Hall of Fame: Top 50 best choices who should be inducted next Carrie Preston on fencing with Matthew Broderick and the heart, humor, and growth of 'Elsbeth': 'She's more than just quirky' 'RuPaul's Drag Race': Onya Nurve and Jewels Sparkles dish their 'ride of a lifetime,' stolen jokes, and turning drag 'inside out' Click here to read the full article.
Yahoo
2 days ago
- Yahoo
‘The Studio' Guest Star Martin Scorsese Thought a Scene Was 'Wrong' But Didn't Want to Be a 'Backseat Director,' Says Creator
Martin Scorsese might be an Oscar-winning director, but he apparently doesn't want to overstep when it comes to other directors' sets. Scorsese played a version of himself in the pilot of Apple TV+'s The Studio. In the episode, he pitches an idea to Matt Remick (Seth Rogen), the new head of the fictional Continental Studios, for a movie about the Jonestown mass murder-suicide. Spoiler alert: Matt buys the script, thinking it'll fill a mandate for him to make a movie based on the Kool-Aid Man, but Matt is later forced to tell Scorsese that not only will he not be making his movie, but the director can't shop it anywhere else since Continental owns the rights. An upset Scorsese gets comforted by another guest star, Charlize Theron. More from The Hollywood Reporter Seth Rogen, Kieran Culkin Voice Ambitious Pigs in First Footage From Andy Serkis' 'Animal Farm' 'Echo Valley' Review: Julianne Moore and Sydney Sweeney Star in Apple TV+'s Satisfyingly Tense Domestic Thriller Ike Barinholtz Jokes He's "Lucky to Be Alive" After Driving With 'The Studio' Costar Seth Rogen Even though Scorsese has an Oscar for best director (for The Departed) as well as nine other directing noms, he didn't share his thoughts with The Studio co-creators Evan Goldberg and Rogen, who directed the pilot together, while filming his scenes. 'He had one note, but he didn't give it until later,' co-creator and executive producer Alex Gregory told People. Added Goldberg: 'There was a moment where him and Charlize Theron were whispering to each other, and it took like 10 takes to get the shot. And then we got it and I was like, 'What were you whispering about?' He was like, 'I knew you were doing this wrong, but I didn't want to be a backseat director, so I just didn't say anything.' And I was like, 'Well, we could have used that time, but I appreciate that you didn't wanna manhandle us.' ' Goldberg did not reveal what that note was in the People story. Casting director Melissa Kostenbauder recently told The Hollywood Reporter that Scorsese was the 'white whale' that Rogen and Goldberg were hoping for in terms of guest stars. 'I feel like they got their white whale, which was Martin Scorsese,' casting director Melissa Kostenbauder told THR. 'I know what big fans they are, and truly everyone is of Marty, and once they got him and Ron Howard, it really started to show people the kind of level they were looking for.' Indeed, the Gotham Award-winning show boasts several A-list guest stars in each episode. Kostenbauder told THR that this consisted of a very 'unusual casting process' in that they wouldn't send scripts when initially sending the offer out to the talent. 'We would offer up a meeting with Seth and Evan, and they were so good about making time to talk to all those people to help woo them and explain the character and answer any questions and make them comfortable, because it was never their intention to lampoon anyone,' Kostenbauder said, noting that full scripts were sent after these meetings. Of those stars who were approached, 'Some were game, and some weren't. And some really did want to lean more into — I don't know if it was Olivia Wilde or Dave Franco — kind of poking fun at themselves.' As for landing Scorsese, Goldberg told People: 'I think unanimously we would say Martin Scorsese as an actor was unbelievable. … The fact that he actually showed up, 'cause we kept thinking, 'He's gonna cancel. It's too amazing. It's too special. He's just the best.'' As for why Scorsese signed on, Goldberg said he thinks Jonah Hill — who's collaborated with Rogen several times and starred in Scorsese's The Wolf of Wall Street — had a hand in that. 'I got the feeling he dropped in a good word for us and that might've helped it happen,' Goldberg said. Best of The Hollywood Reporter 'The Studio': 30 Famous Faces Who Play (a Version of) Themselves in the Hollywood-Based Series 22 of the Most Shocking Character Deaths in Television History A 'Star Wars' Timeline: All the Movies and TV Shows in the Franchise
Yahoo
3 days ago
- Yahoo
Seth Rogen on taking big swings with ‘The Studio': ‘Are people just going to think this looks insane?'
No one is more surprised at the success of The Studio than its cocreator Seth Rogen. After all, he and his cocreator, Evan Goldberg, set an impossibly high bar for themselves — skewering the very industry they live and thrive in. More from GoldDerby 'Disclaimer' star Leila George on how she landed 'the best job of her life' Emmy experts predict Drama Series race: 'Severance' out front, but watch out for 'The Pitt' 'You killed America's sweetheart!' Kaitlyn Dever teased for offing Pedro Pascal by 'Last of Us' cast, creators as bigger role looms in Season 3 'I did have a hyper awareness that a lot of the people I'd be interacting with professionally would probably see this, and if it was bad, it would be incredibly unpleasant for me to constantly be interacting with people that I knew thought I had failed,' Rogen tells Gold Derby. 'That did weigh on me, and it was something that I was aware of and something that did add pressure to the entire experience of it.' Thankfully, they did stick the landing — the eight-episode series of the Apple TV+ comedy scored with audiences, and sits atop Gold Derby's prediction charts across multiple categories, including Best Comedy Series, Lead Actor (for Rogen), Supporting Actress Catherine O'Hara and Supporting Actor Ike Barinholtz — not to mention its guest cast, including Bryan Cranston, Martin Scorsese, Ron Howard, and Zoë Kravitz. SEE'Is that about me?' Seth Rogen loves how 'The Studio' keeps Hollywood guessing Here, Rogen shares why he and Goldberg took so many big swings creatively, who said yes first (Scorsese), why nothing was left on the cutting room floor, and what's on the board for Season 2. Gold Derby: So I was going to joke about you wearing many hats for this series, and you are literally wearing a hat. Seth Rogen: I'm only wearing one single hat at this moment. Thank you for showing up dressed for my first question: Actor, writer, director, showrunner — how do you juggle all of your roles on ? It's funny, because to me, there are times where they are in conflict with one another, but in general, they are not. And when they're not, it feels like one seamless job. It doesn't feel like I am having to shift gears between acting and writing and producing and directing. It honestly just feels like I'm making a thing with my good friend and in doing that, there's a very fluid process in place. As I'm acting, I'm also directing the scenes in a very subtle way, and I'm also rewriting the scene sometimes. And so to me, I actually think I feel the most comfortable when I'm doing all those things. It's almost harder for me when I have been regimented to just one of those things, and that's when I start to feel, at times, a little bit more of the friction between the jobs. What has surprised you the most about people's response to the show? Honestly, I wouldn't say I'm surprised, but I don't take for granted anyone ever liking anything we do. I have been completely blindsided many times in my career where I really think I've done something everyone's going to respond to, and they just don't. And I've also made things that I don't think people are going to respond to that much, and they do, which is a pattern that always keeps me a little bit on edge, honestly. So I was just really happy people liked it, and that it seemed to resonate with people also outside of our industry. My wife's friends from Central Florida are staying with us right now, and they love the show, so that's been really rewarding. I was honestly very concerned that stylistically, we were taking a swing that would not resonate with people, and I was very happy and somewhat surprised, honestly, that it seemed to land in the exact way we hoped it would. Which, again, is not something I take for granted. Talk about those stylistic choices you made. Do you mean the shooting style, the episodic nature, the retro look and feel, all of the above? All of it, the choice to not make it incredibly serialized, from the writing to the directing. We made choices that go somewhat against my comfort zone in a lot of ways, very deliberately in almost every capacity, like the choice to make it very episodic, the choice to only give it one storyline. The idea that we only ever wanted to be a single propulsive story was something that I was very nervous about, honestly, because it just wasn't the trend of streaming comedy. SEE Seth Rogen explains how 'The Studio' pulled off its one-shot episode So why did you make that choice? I just thought it was exciting. That idea of self-contained great episodes of television is something that I feel a lot of nostalgia for. I still remember when I was a kid and 'The Contest' episode of Seinfeld was one that everyone was talking about. The idea of trying to create that type of conversation around the show was just something that Igrew up with and that I was missing a little bit. And then the idea to give it such a strong look — the design of the building, I was very nervous about. It was such a big swing. As we were shooting in these offices, I was worried, are people just going to think this looks insane? The reasoning behind it was all very sound, but I just wasn't 100 percent sure that it would necessarily land. It was great to really push myself out of my comfort zone, but it was also very uncomfortable at times. And then there's the oner shooting style, too. Exactly And that, again, was for comedy — so different and so nerve-wracking and so against what we had been taught and the school of comedy that we came up in, which was find it in editing, in the rhythms you can refine editorially. We were stripping ourselves of all that which was, again, very exciting, but it was just so different that I had no reason to believe it would land other than my hope and projected vision with Evan. We never committed as hard to having as specific a style directorially as we did as writers. And this was really in many ways, our first deliberate attempt to give our directing style as specific a voice as our writing style. SEE'The Studio' star Sarah Polley on playing herself, the question she didn't ask Seth Rogen, and the inside joke that drives her 'wild' You also set a pretty high bar for yourselves in terms of the casting. Who was the first person to say yes? Sarah Polley was actually the first person we went out to, way before we were making the show. And the main cast was very good, like Catherine O'Hara and Kathryn Hahn. Honestly, people were just very excited to be on a show that Catherine O'Hara is on. Scorsese came on relatively early in the process as well. Getting him early on in the process — that added a legitimacy to the whole thing that that put a lot of people at ease. They knew they weren't going to be the person putting themselves out there the most, with the highest stature in the industry. He gave us an amazing gift that we in no way deserved from him, necessarily. It solidified the show in a way that no one else could have done for us. Have you gotten any regrets from the people that said no? Yes, a couple. It's been very gratifying, I'll be honest. Yes, I've had a few emails from people that were like, 'Oh sh-t, I should have done it.' How did you pick what topics you were going to do episodes around, and what was left on the cutting-room floor? What's interesting was the way we shoot the show, nothing was done on the cutting-room floor. I think there's maybe one 30-second scene that we shot that we cut out of the show, and literally, everything else we shot is in the show, We're all very hard on the writing process. I really have a philosophy of if you find yourself cutting a lot of stuff, you do not write it well enough. I actually work very hard to structure things in a way where you can't cut a scene, because if you do, the whole piece doesn't make sense anymore. If you're structuring things in the right way, then every scene is leading to the next scene and building to the next scene. And so you shouldn't be giving yourself the opportunity to cut anything. There's no shortage of ideas to explore within the industry. The only limitation is our ability to turn it into an episode that stylistically fits into the show we are making, which is incredibly condensed, pressurized, high stakes explorations of singular ideas. I'm looking at a board of ideas [turns camera to show a storyboard with index cards] — we could have an idea about a bidding war, and it happens all the time in Hollywood, and it's something we've experienced, but what is the 30-minute story that is an exploration of a bidding war that is one singular story that's high stakes, that is inherently comedic, that has true opportunity for real comedic highs and incredible visceral moments, and hopefully maybe even physical comedy and slapstick. It's purely based on our ability to turn these ideas into episodes. So the awards campaign episode — that will happen next season? We've been talking a lot about it, honestly — film festivals, the standing ovations. We have a lot to crack. Looking back over the course of the season, what was the toughest episode to pull off? What episode are you proudest of? The Vegas stuff was hard, but to me, the Golden Globes one was the one I was most proud of. We had an incredibly specific vision for it in in every way, and the vision was incredibly complicated — we just had to shoot it at the Beverly Hilton. And that was incredibly restrictive and logistically difficult. I wanted there to be never a suspension in disbelief in the caliber of celebrity you were seeing — that's not who'd be winning a Golden Globe, that's not who'd be hosting the Golden Globes, that's not who'd be getting a Lifetime Achievement Award at the Golden Globes, that's not who'd be presenting at the Golden Globes. And so given that that was our self-imposed mandate, pulling off an award show was incredibly difficult, and getting that amount of cameos to show up in that time frame was incredibly difficult. It was also the first time that we were really using our oner shooting style in an environment with so many people. A lot of the episodes are pretty contained — maybe 30, 40 people in some scenes. But this, every scene had 500 people in it, and so we instantly saw, oh, the resets take so much longer, and so much more can go wrong. And even though very few people have been to the Golden Globes, and ever will go to the Golden Globes, very few people will understand the lengths I went through to obtain this. I just wanted it to feel like you were there. And when I watch it, to me, it really feels like what it feels like to be at the Golden Globes, and I'm very proud that I was able to do that. SEE 'Is that about me?' Seth Rogen loves how 'The Studio' keeps Hollywood guessing How many notes have you gotten from the industry for Season 2? We've gotten a lot of ideas sent to us, which is great. It's so nice that people are pitching ideas to us, and there's no shortage of ideas. Can we take these great ideas that people are bringing us and actually turn it into an episode of the show is always the question. What's the worst idea you've gotten? What's funny is, we've gotten calls from some studio heads who love the show and are giving us ideas, but they're also just giving us notes on the show that Matt just get over himself. Like, if he just didn't such an ego about this, he'd be much better at his job. And it's like, that's not a good note for the show. That is the show. I get as a studio head that would probably make it better, but comedically, that would hurt the show, not help it. Best of GoldDerby Gary Oldman on 'Slow Horses' being 'an extraordinary show to work on' and 'one of the highlights of my career' Michelle Williams and Jenny Slate on playing best friends in 'Dying for Sex': 'It was love at first sight' Dan Fogelman and team on the making of 'Paradise': 'It only works if you have talented people who you trust' Click here to read the full article.