‘I feel so lucky to be part of it': Tim Bagley on finding love, laughter, and belonging in ‘Somebody Somewhere'
When Tim Bagley joined the cast of HBO's critically acclaimed Somebody Somewhere, he stepped into a world that, for many viewers, felt like home. As Brad, Bagley delivered one of television's most tender portrayals of late-in-life love, spirituality, and self-discovery — themes rarely explored in LGBTQ narratives on screen. With equal parts humor and heartbreak, Brad's story resonated deeply with Bagley, whose own life experiences have profoundly influenced his performance.
In a recent interview with Gold Derby, Bagley reflected on joining the cast in its sophomore season, how he approached Brad's emotional complexities, and why Somebody Somewhere is such a rare gem in today's television landscape.
More from GoldDerby
"Ron Howard, Bryan Cranston, Sarah Polley, and Dave Franco reflect on how they do - and don't - relate to their roles in 'The Studio'
Inside the comedy pressure cooker: How 'SNL50: Beyond Saturday Night' exposed the madness behind the magic of 'Saturday Night Live'
Leslie Bibb breaks down her aha moments filming 'The White Lotus': 'Kate suddenly got jealous'
"I feel really lucky because I was not in the first season," Bagley said. "I absolutely loved that first season – it really resonated with me and my experience. I loved the style of it, the humor, and how it felt like a slice of life. Watching these people in a small Midwestern town find their own community? I connected with that. When I moved to L.A. back in 1909 — well, '76,' he joked, 'I had to find my people, too. That sense of belonging is something I really responded to.'
Sandy Morris/HBO
Bagley's debut on the show was unforgettable, starting with Brad's over-the-top musical performance. "Bridget Everett asked me, 'Can you sing?' And I said, 'Not really.' So she said, 'Well, I want you to sing an aria.' I learned this song called 'Danza Danza Fanciulla Gentile,' an Italian song, and it was the hardest thing to learn. But I knew the way to make it funny was to commit to it 100 percent, because Brad's such a genuine guy, just walking his path.'
Brad's quirky introduction also included the ill-fated 'St. Louis Sushi' scene, which delighted viewers with its hilariously disastrous consequences. 'Sam [Everett] and Joel [Jeff Hiller] just get explosive diarrhea,' Bagley laughed. 'It was the greatest introduction!'
SEE 'It changed my life': Bridget Everett reflects on the emotional end of 'Somebody Somewhere'
In the show's third and final season, Bagley's portrayal took an even more emotional turn. In one standout episode, 'Dinky Dinkies,' Brad collaborates with Sam to write a heartfelt song for Joel. This forces Brad to confront his feelings in a moment of raw vulnerability. Offscreen, the scene was deeply personal for Bagley, rooted in his own life experiences.
'Bridget called me at home one day and said, 'I'm thinking of writing this song.' She knew my partner had passed away in 1995, and she asked, 'What did you love most about him?' I told her, 'Everything.' But when she pushed for something specific, I said, 'Just the way he looked at me. It made me feel loved and wanted.''
Everett crafted Brad's song around these sentiments, tailoring it to fit the character's emotional limitations. 'She told me, 'You're not going to be able to sing this — it'll be too hard for you to expose yourself like that.''
Bagley recalled filming the scene with Everett and Hiller, describing their support. 'We shot it in just a couple of takes. As an actor, you're always wondering, 'Do you have what you need?' But I was standing there between Jeff and Bridget, and the way they looked at me. … Bridget's kindness and generosity, and Jeff's emotional connection to me, made it so much easier.'
Brad and Joel's relationship broke new ground, offering a nuanced portrayal of older gay men navigating love, faith, and independence. For Bagley, that made Brad's journey extraordinary in its simplicity.
'One thing you don't often see in the gay community is how people manage their spirituality,' he observed, reflecting on his own struggles with faith growing up. 'In my youth, religion equated homosexuality with pedophilia and murder. Churches weren't welcoming.'
Brad and Joel's discussions about faith, including Joel's discomfort with Brad's church, offered fertile ground for storytelling. 'I loved how this unfolded — it's not something you see very often in gay stories,' Bagley said.
The show also explored the challenges of finding companionship later in life. 'Brad's used to being on his own, living independently, but then he meets this guy he really likes, and suddenly, they're figuring out how to share their lives. It's beautiful how the series highlights small, tender moments like whether or not to put magnets on the refrigerator.'
Photo credit: Sandy Morris/HBO
SEE 'We could do this show forever': 'Somebody Somewhere' creators on final season, heart, and the humor of Bridget Everett
In another poignant scene in Episode 5, titled "Num Nums," Brad shares his coming-out story over an awkward Thanksgiving dinner, echoing the experiences of many who came out later in life. Bagley appreciated the careful handling of the moment, drawing from his own journey for authenticity.
'Early in my career, I tried all different kinds of modalities to not be gay,' he revealed. 'I went to therapy, a sex surrogate, conversion therapy. Eventually, I realized this is what it is, and I have to figure out a way to love myself in this and move forward.'
Director Lennon Parham guided Bagley through the scene, grounding Brad's delivery with a tender, matter-of-fact tone. '[She said], 'This is your story, and you know it very well, so it's not like you're discovering it for the first time.' That helped me capture the tension between shame and normalcy."
Photo credit: Sandy Morris/HBO
Reflecting on his decades-long career — which includes over 170 acting credits — Bagley expressed gratitude for the opportunity to create such a layered, authentic character. 'A lot of times as a gay character, you're a caricature — a clown. You're, 'Here's your salad, ma'am.' But Brad felt different. He's so real, navigating life's struggles and joys with heart, humor, and dignity.'
Bagley also pointed out how times have changed for LGBTQ actors. Early in his career, auditioning for a gay role was seen as a risk. 'For a gay person to play a gay role? It could ruin your career,' he recalled. 'I remember auditioning for Wings to play Abe Benrubi's partner, and my agent warned me, 'This could really ruin things for you.' I remember going to bed that night and thinking, 'Why am I going to let fear stop me from playing something that I can play?' Back then, they'd cast straight people in gay roles to avoid controversy. Even Will & Grace made a point of casting a straight actor (Eric McCormack) as Will. They made it very clear they weren't going to look at anybody that was gay for that role. We live in a different time now, and I'm grateful for that.'
For Bagley, Somebody Somewhere stands out as a rare and special show. 'It's so Midwestern, so full of heart, and so incredibly funny,' he says. 'I find humor in the painful existence of life, and this show captures that perfectly. It's just so beautiful, and I feel so lucky to be part of it.'
Somebody Somewhere is streaming on Max.
Best of GoldDerby
Leslie Bibb breaks down her aha moments filming 'The White Lotus': 'Kate suddenly got jealous'
'Agatha All Along' star Ali Ahn: Getting Patti LuPone's approval while singing was 'like I had died and gone to heaven'
Inside 'The Daily Show': The team behind the satirical news series on politics, puppies, punchlines — and staying sane
Click here to read the full article.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
30 minutes ago
- Yahoo
Ariana Grande's Jennifer Coolidge Impression Wasn't the Most-Watched ‘SNL' Sketch of the Season, This Recurring Character Was
After a historic year for 'Saturday Night Live,' the comedy series ranked their most viral sketches from Season 50, and Ariana Grande's performances came out on top. The 'Wicked' star made her presence known at Studio 8H during her press tour for the blockbuster, with three of her sketches cracking the top five most-watched performances of the season. The pop singer's Jennifer Coolidge impression came in as the 4th most-watched sketch of the season. Grande and Chloe Fineman mirrored their impressions of the 'White Lotus' star as they tested out Maybelline's latest lip product. But the recurring sketch that dominated the season was another one of Grande's: 'Domingo.' The Oscar nominee was joined by a cast of bridesmaids to toast the bride with an original song to the tune of Sabrina Carpenter's 'Espresso.' Grande's ability to sing off-key went viral on social media, leading the cast to bring back the sketch format twice more during the season — once for Charli XCX's episode and a third time during the 50th Anniversary special, featuring Carpenter herself. 'Domingo: Babymoon' was the second-most watched sketch of the season. Another sketch from the 'Thank U, Next' singer that was third most-watched overall was 'Castrati,' in which she plays a young boy who is castrated at eight or nine years old to preserve his falsetto singing voice. Her face of general disgust and horror as Antonio became a meme on social media, gaining traction for the sketch across platforms. Several of Timothée Chalamet's performances also cracked the Top 10 most-watched sketches, including his performance as a barista-in-training and a bungee workout instructor. Here's the full list of the top sketches of 'SNL' Season 50: 'Domingo: Bridesmaid Speech' feat. Ariana Grande 'Domingo: Babymoon' feat. Charli XCX 'Castrati' feat. Ariana Grande 'Maybelline' feat. Ariana Grande 'Mid-Day News 2' feat. Shane Gillis 'Bungee' feat. Timothée Chalamet 'Port Authority Duane Reade' feat. John Mulaney 'New Barista Training' feat. Timothée Chalamet 'Washington's Dream 2' feat. Nate Bargatze 'Shrek: The Musical' feat. Charli XCX The post Ariana Grande's Jennifer Coolidge Impression Wasn't the Most-Watched 'SNL' Sketch of the Season, This Recurring Character Was appeared first on TheWrap.
Yahoo
2 hours ago
- Yahoo
Eric Dane Describes Waking Up With ALS In First TV Interview Since Announcement
Eric Dane said he cannot hide from the fact that he has ALS. 'I wake up every day and I'm immediately reminded that this is happening,' the recently diagnosed 'Grey's Anatomy' alum told Diane Sawyer in an interview preview shared Thursday. (Watch the video below.) 'It's not a dream,' Sawyer said. 'It's not a dream,' the actor replied. Despite living with the incurable disease, which ravages the nervous system, Dane explained: 'I don't think this is the end of my story. I don't feel like this is the end of me.' Sawyer asked Dane whom he called first ― presumably to deliver the news of his amyotrophic lateral sclerosis diagnosis. Dane appeared to well up with emotion as he bowed his head. The snippet ended there. Sawyer's full interview airs Monday on 'Good Morning America.' The actor revealed he had ALS, sometimes called Lou Gehrig's disease, in an April issue of People. 'I am grateful to have my loving family by my side as we navigate this next chapter,' he said. He said he planned to keep working on HBO's 'Euphoria,' in which he plays Cal Jacobs, the father of Jacob Elordi's Nate Jacobs character. The TV star rose to fame as hunky plastic surgeon Mark Sloan, aka McSteamy, on 'Grey's Anatomy' from 2006 to 2012. Dane, 52, has two teenage children with wife Rebecca Gayheart. 'Grey's Anatomy' Star Reveals ALS Diagnosis 'Grey's Anatomy' Star Reveals What It Was Really Like Working With Denzel Washington As Director Ellen Pompeo Reveals The 'Grey's Anatomy' Death That Hit The Hardest
Yahoo
10 hours ago
- Yahoo
‘The Americas' producers on NBC's ambitious docuseries, Earth's most varied landscapes, and ‘absolute joy' working with Tom Hanks
Five years. 180 expeditions. One supercontinent. NBC's The Americas takes viewers on an epic journey from pole to pole, unveiling Earth's most dazzling landscapes, jaw-dropping wildlife, and never-before-seen phenomena — with a little help from Tom Hanks and Hans Zimmer. Buckle up, this is not your ordinary nature doc! The unprecedented scale and ambition delivers remarkable world firsts: new species, new intimate courtship, dramatic deep sea hunting and some of nature's strangest stories. Each hourlong episode features a different iconic location across the Americas: 'The Atlantic Coast,' 'Mexico,' 'The Wild West,' 'The Amazon,' 'The Frozen North,' 'The Gulf Coast,' 'The Andes,' 'The Caribbean,' 'The West Coast' and 'Patagonia.' More from GoldDerby Everything to know about 'Toy Story 5': the Pixar franchise returns June 2026 with new themes and familiar faces 'It almost killed me': Horror maestro Mike Flanagan looks back at career-making hits from 'Gerald's Game' to 'Hill House' to 'Life of Chuck' First look at JFK Jr. and Carolyn Bessette in 'American Love Story,' 'A Minecraft Movie' sets streaming premiere date, and more of today's top stories Executive producer Mike Gunton and editor Holly Spearing recently spoke to Gold Derby about their most ambitious project yet and collaborating with a legendary pair of two-time Oscar winners. Gold Derby: The Americas was five years in the making with over 180 expeditions, land and sea. So how do you even begin to conceptualize this sort of ambitious series? Mike Gunton: The word ambitious, I think, is the key word, because that was the goal, to do something that had the same level of ambition as something like a Planet Earth 2, which is a series I had just been working on. Is there anything on the planet that could match that in scale and ambition and that hadn't been done before? I scratched my head quite a lot, thought about Africa, maybe a few other places, and then thought, "No, there isn't anywhere." But then I thought, "Well, hold on a minute. North America's been looked at, maybe, South America. But what about thinking about them together?" As far as animals are concerned, and as far as nature is concerned, it is all joined together. It's a kind of a supercontinent. So I thought, "Well, maybe somebody must've done that," and then looked around and they hadn't. It doesn't have lions and it doesn't have elephants, but that's about it. In fact, it does have some kind of lion — it has mountain lions. It has all the biggest, the longest, the most impressive natural phenomena you can imagine. So it just had to be done. You've both worked on so many nature documentaries and series in your careers, what separates this from what you've done previously? Holly Spearing: Well, I think the scale is a big part of it. Ten episodes and covering an entire supercontinent that actually has its head up in one pole and its feet down in another pole — that is absolutely massive. It does really set it apart from anything I think either of us have done before. Gunton: Also, doing a project for this audience was a really interesting challenge because. ... We work for the BBC and so we make programs for British audiences. They do, of course, get shown around the world and they do get shown in America. But to make a series that directly speaks to an American audience on a national level is something I've never done. Nobody's ever done it to be absolutely honest with you. The opportunity of doing that was a very big part of why we wanted to do it. Did each location have an independent film crew? Were they taking place simultaneously, or how do you work that out logistically for these 10 episodes? Spearing: It was massively ambitious to cover the area, all the different seasons, all the different animal behaviors. And of course, yes, some of them were happening all at once. So the series is broken down into its 10 different episodes, and those teams work on their shoots, so it was a huge logistical exercise. It was 180 separate shoots, and these are expeditions. They're not just driving up to a location and getting out of a vehicle. Some of them are scaling up a mountain. They're going to one of the most remote islands off the end of South America where you actually have to take a medic with you because it would take so long to get to facilities that you'd need if anything happened. These were really ambitious shoots. And of course, we were covering different habitats from underwater to scaling up trees, deserts, all of those things that we had to face and encounter. But our crews, I have to say, are absolute masters at this. They're experienced and they did an absolutely outstanding job. Gunton: Holly's like a military commander. This is like a military operation. You have got so many resources to deploy because it's not just personnel, it's the most extraordinary variety of equipment, as you hinted at: ships, and we're not talking about little boats, we're talking about massive, really huge boats, helicopters, airplanes, submersibles, and cave divers. There's a sequence there — which I think is probably the bravest thing I've ever seen — where two guys go through those underground caves in Florida. There's no escape. If anything goes wrong, you've got nowhere to go. That's an insanely dangerous thing to do. And all of this has to not just be coordinated in terms of logistics but also has to be made safe. How has technology changed how you approach these topics throughout the years? Gunton: Over the years, we've started to use drone technology a bit more. But what was very fortunate with this series is that the stars aligned and and drone technology has improved – they're smaller. The camera quality was better. The pilots were not necessarily better, but more exposed to shooting in nature. The cameras have to move slowly, they have to get close to the animals, but very, very carefully. And also, the recruitment of real natural history experts at the controls of those drones was just a perfect marriage. We were able to get cameras to places that four or five years ago, we wouldn't have even attempted. Spearing: I think ultimately, what we're trying to do with this new technology is immerse ourselves in the world of the animals so we can see these locations through their eyes, and as Mike says, get really close to them. We think we had about 35 different camera rigs throughout the whole series just to cover all the different environments from underwater to filming things the size of a grain of rice. We talked about drones, but there are crew members within feet of wolves, bears, pumas. Is there anything that feels like it's too dangerous? Spearing: Well, really interesting you mentioned the puma story because our camera operator, John Shire, had actually built a relationship with this particular individual puma over many years. In fact, he filmed her as a cub and many people believe that she still recognizes him by scent. Many of our camera operators are absolute experts on animal behavior as well, and they have to be. They're constantly reading cues from the animals and working with that because they're looking for the behavior that we want to capture. You mentioned Tom Hanks, who narrates the series. How did he become involved? Gunton: When I first pitched this to NBC I didn't mention a narrator. But I did actually write in my notebook at the time, "Ooh, Tom Hanks would be the right person to do this." I didn't think about that for another two or three years. When we finally mentioned him they responded "Oh, yeah, of course. There's only a list of one. It has to be Tom Hanks." Luckily, he had been aware of the series. So I went out to LA, sat down in this little viewing theater with a rough cut of one of the episodes and showed it to him. It was quite nerve-wracking. You're sitting next to a two-time Oscar winner. About a minute into it, he went, "Oh, God," and then turned around to the guy who was running things and said, "Guys, have you seen this? This is insane!" And from then I just thought, "We're sold. He's got this. He absolutely knows what we're doing." He was an absolute joy. He is what you hope your heroes will be — the loveliest man you could imagine; smart, funny, and added so much value to it. Spearing: He was so collaborative to work with as well and just wanted to do the very best he could. He is a filmmaker after all, and he was also incredibly interested in how we got the shots. He loved all the stories from behind the scenes and the cameras. And then finally, one of the more maybe unsung heroes of a docuseries like this is the music. You have the great Hans Zimmer composing music, how did that come about? Spearing: He wrote an extraordinary theme for The Americas, which I think then set the style for all the other music that followed behind it for the individual sequences. Mike is a long-time collaborator with Hans. Gunton: When we've done panels or or live screenings, people put up their hands and say, "We love the music." I think he and his team just got it dead right; not too much. It was incredibly evocative and deeply enriched the drama while also capturing the essence of the locations. One of the key aspects of this series was not just telling stories about life and animals but placing them within their environments — highlighting the personality and unique signature of where they lived. That was the foundation. It was like a "super safari." If we could take you on the most extraordinary journey across the Americas, where would we stop, what would we show you, and what makes those places special? A crucial role of the music was to evoke that sense of wonder, and I think he accomplished that superbly. This interview has been edited for clarity and length. The Americas is streaming on Peacock. SIGN UP for Gold Derby's free newsletter with latest predictions Best of GoldDerby Asif Ali and Saagar Shaikh admit they 'never had the audacity to realize' a show like 'Deli Boys' was possible From 'Housewives' overload to the 'shadiest queens' alliance: The dish on 'The Traitors' Season 4 lineup Leslie Bibb breaks down her aha moments filming 'The White Lotus': 'Kate suddenly got jealous' Click here to read the full article.