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Yahoo
5 days ago
- Entertainment
- Yahoo
The Cast and Crew of ‘St. Denis Medical' Found Joy and Warmth in the Show's Hospital Setting
'Hospitals are very sexy places.' The seasoned TV viewer probably knows that; from 'E.R.' to 'Grey's Anatomy' to 'The Pitt,' fictional hospitals are always teeming with attractive people and tense relationships — which is what makes them such fruitful narrative territory. NBC's 'St. Denis Medical' is no exception, as the cast and creative team told IndieWire as part of a virtual panel for Universal Studio Group's USG University. More from IndieWire 'The Gilded Age' Season 3 Trailer: A New Generation Rises as Carrie Coon Tries to Secure Her Status in High Society David Gauvey Herbert Reveals 'Ren Faire' Director Lance Oppenheim's Disarming Methods 'I always wondered: those medical dramas where people have sex in the on-call rooms, is that a real thing?' showrunner Eric Ledgin said. 'My friend who's an oncological surgeon assured me it's a very real thing.' That was the spark for Season 1, Episode 8 of the show, which opens with the St. Denis staff being summoned to a meeting after two of them are caught in the aforementioned on-call room. Hospital administrator Joyce (Wendi McLendon-Covey) hopes it'll be a quick and efficient conversation, but it ends up opening the floodgates regarding sex, gossip, and more. 'It gets Alex (Allison Tolman) in her head about is she having enough sex in her marriage — which was something that was very relatable to me and many married people,' Ledgin said. 'Then the room sort of piles on these ideas of, what if Joyce gets really paranoid that she's not in the loop, and it just was such a funny point of view for that character. One by one, it all comes together in the room of how to turn this into a story about our characters.' The break room is just one of many settings that showcase the work of production designer Elliot LaPlante, and how she and Ledgin worked to create 'the level of hospital' that St. Denis would be from a visual standpoint. 'This was not a cold, inner city hospital, and that allowed us to have a little bit more charm and a little bit more of a community feel, while keeping the balance of feeling real,' said Ledgin. For LaPlante, the show's Oregon setting took her back to her Pacific Northwest roots and to the atmosphere of that region. 'How do we bring the heart that we experience in these scripts to the visuals that we're seeing, and how do we make it as authentic as possible?' she said. 'What are those things that someone who is a medical professional will see and be like, 'Oh my gosh, that is right on. We have that in our hospital.' That's what we were always looking to find in all of our sets.' That extends to Joyce's office, cluttered with memorabilia from her time at the hospital and clues about how much time she devotes to work (as much as she wants to have a richer life outside). 'She sometimes does feel removed from things, but we wanted to get out that reminder [that] she still is integral into everything that's happening and has had such an impact on the community,' Laplante said. 'As we go on through the season, you just understand that Joyce is excluded from a lot of things, and it's because she is a disaster of a person,' McLendon-Covey offered. 'She sure wants to be a cuddly person, but she just isn't. All her plants have to be fake, because she doesn't have time to take care of them, and she has stuffed animals because those are her pets.' She and Tolman expressed gratitude for the stability of something like 'St. Denis.' The sets stay up, the departments have found their rhythm, and production rarely goes into overtime, making everyone 'able to be fully present and able to be pleasant at work for every single hour of every single day, because we weren't working crazy schedules, and we're working these coveted sitcom hours,' Tolman said. Even in a hospital, 'St. Denis' is a workplace comedy, a genre now comfortably depicted in the single-camera mockumentary style. The handheld cameras require minimal set up (cutting down prep time for someone like Tolman, who usually counts on her quick memory to learn lines on set), and performers develop a relationship with their camera operators, who function as moving pieces of the scene like anyone else. 'Whatever brand of gentle psychosis it is where you go through your life as if there was an audience — I've had that since I was a kid,' Tolman said. 'You can share things with the audience, and you can look at the camera and draw them in. There's all these opportunities to make other jokes and have other reactions, and then we get to surprise each other, and we get to surprise our writers and our directors. It just keeps it really alive.' Everyone from the 'St. Denis' team was eager to praise other departments, from the camera crew and writing staff to costume designer Alex Hester, producer Meg A. Schave, and more. As they prepare for Season 2, there was palpable excitement about working on the show with so much established. 'Normally we build something that is for a season and then it comes down,' LaPlante said about her job specifically. 'This set had to be waterproof. It had to be engineered. We built an ambulance bay with a 40-foot cantilevered awning, and we really had to be strategic throughout the Season of how we were able to shoot that area… I'm so glad it's done. It's ready to go for Season 2.' For Ledgin, his years of experience as a writer and executive producer led him to being a full-fledged showrunner — on unexpected levels. 'I am a little surprised by how much I couldn't get away from it, even when I went to sleep,' Ledgin said of the show's first season, which is now streaming in full on Peacock. 'It was in my dreams. I was waking up with an idea, and the problem was that I liked the idea so I had to actually get my phone and write it down. I was like, 'This is going to save me an hour tomorrow then I'm banging my head against the wall trying to think about what it was…' I think that was probably the biggest challenge that I am working on for Season 2.' IndieWire partnered with Universal Studio Group for USG University, a series of virtual panels celebrating the best in television art from the 2024-2025 TV season across NBC Universal's portfolio of shows. USG University (a Universal Studio Group program) is presented in partnership with Roybal Film & TV Magnet and IndieWire's Future of Filmmaking. Catch up on the latest USG University videos here or directly at the USG University site. Best of IndieWire 2023 Emmy Predictions: Who Will Win at the Primetime Emmy Awards? 2023 Emmy Predictions: Outstanding Documentary or Nonfiction Special 2023 Emmy Predictions: Outstanding Documentary or Nonfiction Series
Yahoo
5 days ago
- Entertainment
- Yahoo
‘The Pitt' and ‘The Residence' Costume Designer on Making Noah Wyle Look ‘Worn Out' and Sherlock Inspiration for Uzo Aduba's Look
Having worked on 'E.R' and 'Presidio Med,' costume designer Lyn Paolo felt she didn't feel the need to do another medical drama. But when she read the scripts for 'The Pitt' by former 'E.R.' colleagues and producers John Wells and Noah Wyle, she couldn't turn it down. 'The scripts were brilliant, and they're all so passionate about the project and highlighting the people that take care of us.' More from Variety 'Paradise,' 'The Residence' and 'Zero Day' Production Designers on Recreating The White House for TV 'The Pitt' Star Supriya Ganesh on Wanting to See More of Samira's Personal Life in Season 2 and Using She/They Pronouns: 'Hey, I'm Queer. See Me' TV Bosses Behind 'The Pitt,' 'Doc' and More Examine the Rise of the Medical Drama: 'The Stakes Are Clear' The HBO Max series takes place within the course of one 15-hour shift at Pittsburgh Trauma Medical Center. Paolo's challenge was to make her costumes look and feel real. Paolo describes Wyle's Dr. Michael Robbie's look as 'downtrodden and worn out.' His Beers of the Burgh hoodie was 'trashed. His pants weren't new either,' Paolo says. In comparison, the new people to the trauma center came in with a fresh and crisp look. 'We slowly aged everything all the way through the season,' she says, noting how there was a lot of meticulous detail. Shoes were an important part of 'The Pitt's' detail. Paolo notes how each principal had their brand and 10 pairs. The number was necessary for the season's shoot and to show how the shoes aged over the 15-hour shift. But Paolo didn't just give actors shoes to wear. 'We consciously spoke to each actor individually and said to them, 'Tell me about your feet. What are the problems? What are the good things? What are the bad things? What can you see yourself wearing for nine months and knowing that you're going to be on your feet 12 hours a day, every day.'' She adds that every single character has their own distinct shoe. But there was also meticulous detail on Netflix's 'The Residence.' 'It's a different kind of detail. Why are the Australians in navy blue tuxedos and the Americans in black tuxedos?' 'The Residence' follows Uzo Aduba as Cordelia Cupp, who is tasked with solving a murder at the White House, and everyone, including the staff and guests, are all suspects. Production designer Francois Audouy recreated the White House right down to the yellow and blue rooms, as well as state rooms, leaving little room for Paolo to play with. With most of her color choices eliminated, Paolo would buy fabric swatches and hold them up against color palettes on the wall. 'We didn't want Uzo disappearing against a wall,' she says. Paolo spent time putting together Cordelia's look, and getting it right was vital. She compares the process to a jigsaw puzzle. She knew she wanted something iconic. As a huge murder mystery fan, Paolo says she found inspiration in her love for Sherlock Holmes, 'I went back to the original Sherlock, Basil Rathbone from the 1930s, and just did all this research.' Eventually, she found a 1930s-style hunting jacket that matched Cordelia's quirky personality. In addition to that, Paolo also leaned on her love for Katherine Hepburn. 'I felt like a Hepburn pant, a man's brogue, and a tweed hunting jacket.' Of course, Aduba loved it, and that became Cordelia's signature look. As with 'The Pitt,' it was all about detail for 'The Residence.' Cordelia needed to stand out and was the center of that world. But each group also needed to have their own distinct feeling. 'For all of our background artists, we couldn't use prime colors because I didn't know who was going to be in which room. So, we ended up manufacturing a lot of gowns for the ladies in metallics.' Paolo's next challenge was dressing the men, especially since most were in tuxedos. 'There were tiny, subtle things like navy blue for the Australians, black for the Americans, and a mid gray for the staff.' She adds, 'It's all those visual tricks that we threw in there. Our creator, Paul (William Davies), didn't want anything flashy. He wanted Cordelia to stand out. And I think we got that. I think we achieved that with her look, and everyone else floated away.' Best of Variety What's Coming to Netflix in June 2025 New Movies Out Now in Theaters: What to See This Week 'Harry Potter' TV Show Cast Guide: Who's Who in Hogwarts?
Daily Mail
29-04-2025
- Entertainment
- Daily Mail
Dallas star Priscilla Pointer dead at 100: Hollywood actress was once Steven Spielberg's mother-in-law
Dallas star Priscilla Pointer, who played the mother of one of the two main feuding families on the 1980s soap opera, has died aged 100. Her passing was announced this Tuesday by her actress daughter Amy Irving, who was married to Steven Spielberg from 1985 to 1989. Amy broke the news on Instagram, writing that her mother had ' died peacefully in her sleep' on Monday, ' hopefully to run off with her 2 adoring husbands and her many dogs. She most definitely will be missed.' Priscilla's son David Irving shared that his mother ended her days at an assisted living facility in Ridgefield, Connecticut, via The Hollywood Reporter. She appeared on a string of beloved TV series ranging from The A-Team and The Flash to L.A. Law and Judging Amy to E.R. In addition to her television work, Priscilla also featured in a number of classic movies, including Blue Velvet, Carrie and Mommie Dearest. Priscilla acted on Dallas as Rebecca Wentworth, an oil tycoon's wife who turns out to be the long-lost mother of Cliff (Ken Kercheval) and Pam (Victoria Principal) Barnes. The primetime soap began by highlighting the contrast between the wealthy Ewing family and the poorer Barnes family - a dynamic that gets dramatically upended by the revelation that Cliff and Pam had a rich mother all along.
New York Times
26-04-2025
- Health
- New York Times
What Facing Cancer Taught Me About Fear
To say I was afraid of mice is to put it mildly. I was terrified, not only of how they looked and the way they scuttled along a baseboard but also of what they portended. This began in 2011, when, after months of failing health, I spent a week in a hospital in Paris, where I lived. Doctors ran countless tests but found nothing conclusive. Eventually, they diagnosed me with burnout and sent me home. It wasn't a satisfying explanation. I felt better while in the hospital, but that was because of prednisone, an ordinary steroid. As it wore off, I deteriorated again. For days I lay in bed, growing weaker and feeling a creeping unease. At the same time, I began to hear scurrying in the kitchen. I hadn't cleaned up before my unexpected hospitalization, and I began imagining mice multiplying inside the cabinets. I asked my boyfriend at the time if he heard anything, but he hadn't. I worried I was losing my grip on reality. Several days passed, and I was still in bed. My skin was pallid, and lesions covered the inside of my mouth. 'Something's seriously wrong,' my boyfriend said. 'We need to go to the E.R.' So I dragged myself to the hospital, where tests revealed that my blood counts had plummeted. The doctor recommended I return home to New York immediately. We went back to the apartment, and I packed my suitcase. Afterward, I climbed into bed, terrified and exhausted, yearning for the oblivion of sleep. Then, the noise began again — and my boyfriend heard it, too. He hurried into the kitchen and threw open the cupboard. I heard a yelp and felt panic. 'Are there mice?' I shouted. 'No, just a bug!' he said unconvincingly. Next came a series of crashes and bangs, pots clanging and a thwacking sound like a broom hitting the floor. I asked again: 'Tell me the truth. How many?' He paused. 'More than I can count.' I suddenly felt invaded, as if my little Parisian studio apartment had been infiltrated by pestilence. I saw the mice as an omen. I flew home the next morning. A few weeks later, I was diagnosed with leukemia, and fear became my dominant emotion. Fear of needles. Fear of time slipping by. Fear of being a burden. Fear that all my dreams would be dashed. Fear of grief, not only my own but also the grief I might cause the people I love. Fear of pain. Fear of the next biopsy. Fear of death. These fears made sense to me. But after I emerged from four years of treatment, I found that I was afraid of living — a fear that's much harder to explain. I had lost so many friends to illness, and I had lost that boyfriend to the toll of it. I feared opening myself up to new love. I was afraid of the future. Afraid any plans I made would be undone by some errant leukemia cell or other calamity. I'd wake up with the best intentions, but I'd end up back under the covers, so overcome by fear that I couldn't function. And when you're in such a spiral, another fear creeps in: that you'll never experience uncomplicated joy again. After a year of languishing, I managed to shake myself loose when I embarked on a 15,000-mile solo cross-country road trip. It was an extended session of self-styled exposure therapy that began with confronting my fear of driving. I got my license at the ripe old age of 27, loaded up a borrowed Subaru and set off. Over the next hundred days, I faced one fear after another. I met new people and also grew comfortable being alone. I sat with my grief, and I found I could carry what lingered, from lost love to the imprints of illness. I also analyzed my fears in my journal. Sometimes you're so afraid but you don't know why, which makes the fear seem unparsable and intractable. But in writing your fears down, you can evaluate them — to see which are valid and which have no grounding in fact. The more clearly I saw my fears, the more I noticed a strange irony: I feared what I wanted most. If you've had your stability ripped away, it can feel dangerous to have hope or to take risks. But my fear was not protecting me from harm, only preventing me from attaining what I wanted: to be independent, to feel strong, to write again, to dream big dreams, to fall in love, to live daringly. Once I knew this, I got to choose. I could brace myself against discomfort, or I could be open to it all. It was like building a muscle: often uncomfortable, sometimes painful, always exhausting. But I became stronger, and I began seeing the rewards. I realized that the more I ran from my fear, the bigger it loomed. Yet if I confronted the fear, it lost its power. As the fear evaporated, other feelings materialized, like wonder and curiosity. And as my friend Elizabeth Gilbert, the writer, once said to me, 'You don't have to be particularly brave. You just have to be a tiny bit more interested in something than you are frightened' — one percent more curious than afraid. Now to return to the omens. In the years after I finished treatment, my fear of mice persisted. Mice seemed to show up wherever I went. The year before my road trip, I had a mouse in my apartment. I was petrified of it, as was Oscar, my feisty terrier mutt (who had once chased down a bear in Vermont woods). I knew the mouse had made an appearance when I'd find Oscar trembling in a corner. Years later, I moved to an old farmhouse in the Delaware River Valley. And what do you know? Lovely bucolic hamlets also have mice. Each time I saw one, I called my neighbor Jody to help me get rid of it. I couldn't even look at the mice. That old superstition held sway. And then my greatest fear came to pass. In 2021, I learned that after a decade of remission, the leukemia was back. To relapse after that long is extremely rare, and my prognosis was not good. I thought, 'I might die this time,' and that felt frightening. But I had done a lot of work to figure out who I was, what I wanted and even how I would do things differently if I got sick again. During a second bone-marrow transplant, rather than feeling frozen by fear, I invoked a creative practice to defang it. Medication temporarily impaired my vision, so I journaled in voice memos and watercolors. When my husband, Jon, and I had to be apart, we stayed connected through the lullabies he composed for me daily. And when I grew so weak that I needed a walker, I bedazzled every inch of its drab frame with colorful rhinestones. Afterward, instead of pity, Li'l Dazzy and I were met with delight and, incredibly, a passing shout of 'Cool walker!' I survived that transplant, but I will never be considered cured. I'll be in treatment indefinitely, and it can feel as if the sword of Damocles is hanging over me. But giving fear free rein makes it hard to live. You're afraid of rebuilding, because what you create may collapse — but then you just exist in wreckage. And the truth is, sometimes fear makes it hard to see when things are good. When I returned home months after my transplant, I opened my closet and saw something shadowy and rodent-shaped on the floor. I slammed the door and called Jody, who came over to investigate. Afterward, he came downstairs and said I had a serious problem on my hands. I felt seized with panic and asked if I needed to call an exterminator. 'No,' he said. 'A shrink.' It wasn't a mouse; it was a pouch of patchouli. I began working on my fear of mice in clinician-directed exposure therapy. And it worked. I no longer see mice as harbingers of doom. I understand that they're a fact of life, in the city or the country. And while I would still prefer to have Jody — whom I call 'Angel Man' for all the miraculous ways he comes to my aid — remove the occasional mouse, I don't feel I need to move out every time I see one. If mice were to return, I could deal with it. That's what I found on the other side of fear: the knowledge that I can handle it, whatever 'it' is — as long as I'm one percent more curious than afraid.
![[Watch] Men Arrested For Showing Fake Proof Of Payment For Restaurant Meals](/_next/image?url=https%3A%2F%2Fwww.therakyatpost.com%2Fwp-content%2Fuploads%2F2025%2F04%2Fshah-alam-fake-proof-of-payment-restaurant.jpg&w=3840&q=100)
![[Watch] Men Arrested For Showing Fake Proof Of Payment For Restaurant Meals](/_next/image?url=https%3A%2F%2Fall-logos-bucket.s3.amazonaws.com%2Ftherakyatpost.com.png&w=48&q=75){kind=small}
Rakyat Post
22-04-2025
- Rakyat Post
[Watch] Men Arrested For Showing Fake Proof Of Payment For Restaurant Meals
Subscribe to our FREE A local restaurant owner was recently cheated off RM348.10 by two diners at Section 13, Shah Alam. The suspects were caught on CCTV tricking the shop owner by claiming they have paid for their meals. On 20 April, the two suspects brought along three more people to dine and ate meals totalling up to RM304.50. They allegedly showed a fake proof of payment before leaving the premises. The shop owner soon realized the money wasn't transferred and that the suspects showed a fake proof of payment. The owner claimed the two suspects previously did the same thing and did not pay RM43.60. Due to the mens' actions, the restaurant suffered total losses amounting to RM348.10. hi warga X,boleh bantu RT untuk mencari keluarga ini. Cctv ni sangat jelas. senang je makan taknak bayar. 2 hari berturut makan/bayar guna resit transfer palsu. hari pertama -RM43.60. hari ke-2 bawa family 5 orang order macam2 sampai RM304.50 📍Lokasi: Seksyen 13, Shah Alam — 🌟E.R 🇲🇾 (@Erplate_Runner) Shah Alam police confirmed receiving a report on 14 April about the incident around 10.18pm while the suspects were still dining in the restaurant. The suspects were apprehended on 21 April at 2.50am and will be remanded for four days until 24 April. Investigations revealed that the 34-year-old suspect has three past criminal records while the 35-year-old has several criminal records as well. The case will be investigated under Section 420 of the Penal Code, which carries imprisonment for a minimum of a year and a maximum of ten years, a fine, and whipping upon conviction. POLIS REMAN 2 LELAKI MAKAN TAK BAYAR Polis menahan 2 lelaki di Shah Alam awal pagi Isnin kerana disyaki menipu seorang peniaga restoran dgn menunjukkan resit pembayaran palsu selepas makan lebih RM300. Menurut OCPD Shah Alam, kedua² saspek kini direman selama 4 hari. — Hariz Mohd (@HarizMohdWrites) Share your thoughts with us via TRP's . Get more stories like this to your inbox by signing up for our newsletter.
