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Los Angeles Times
10 hours ago
- Entertainment
- Los Angeles Times
‘The biggest mistake of my life': 6 actors on typecasting, comedy idols and more
Hailing from some of today's funniest TV series, six actors gathered recently for an uninhibited conversation about what it takes to make people laugh at The Envelope's Emmy Roundtable for comedy actors. In Netflix's 'Running Point,' Kate Hudson plays Isla, a woman who becomes pro basketball's first girl boss when she takes over the family franchise. In ABC's 'Abbott Elementary,' Lisa Ann Walter portrays Melissa Schemmenti, a tough grade school teacher in Philly's underfunded public education system. With Hulu's 'Mid-Century Modern,' Nathan Lane takes on the role of Bunny, an aging gay man who brings together a chosen family when he invites two friends to reside in his Palm Springs home. 'Hacks' co-creator Paul W. Downs does double duty as Jimmy, the manager to legendary comedian Deborah Vance (Jean Smart) in the Max series. Bridget Everett, creator of HBO's 'Somebody Somewhere,' plays Sam, a cabaret singer who moves back to her family's sleepy Kansas town to take care of her dying sister. And David Alan Grier stars as Dr. Ron, a devoted physician and cranky veteran who's seen it all in the overrun ER of a small-town hospital in NBC's 'St. Denis Medical.' The talented group spoke with The Times about their respective shows, typecasting and the risks one takes to make great comedy. Read on for excerpts from our discussion — and watch video of the roundtable below. The best comedy pushes boundaries, which means it can also skirt the edge of offensive. How do you know if you've gone too far, or haven't pushed it enough? Downs: In the 'Hacks' pilot, Jean Smart's character, Deborah Vance, says there is no line. I think there's nothing off limits, because it's really about execution and thoughtfulness. The thing that makes edgy comedy not funny is when it causes harm, when it's something that's punching down, when it's not something that can bring people together. That, to me, isn't worth it. But there's nothing that's too taboo, because that's what comedy is for. It's to examine things, explore things, get close to the edge. Everett: I think that comedy is about making people feel good. I want to make people feel joy. So as long as I'm not hurting anybody's feelings, I think everything's on the table. Grier: I don't think you know the edge and that's why it's dangerous. I've done things where I thought, 'This is too much,' and things where I thought, 'We didn't go far enough.' So you have to play that game. My intention is never to anger and offend, but you do have to put yourself in that position and take a chance, especially with comedy. You can prescreen it, but who are you prescreening it to? Sixty-year-old white women? High school kids? You have to take a chance. Hudson: I'm not a stand-up [comedian], so it's fun to watch people walk that line. It's exciting. What are they going to say? Is it going to be offensive? Is it not? Is it going to be brilliant? That's part of what's fun about being an audience of adult comedy. But I don't like mean comedy. It's really hard for me to see. I've been asked to do roasts a million times, and I just can't do it. It just doesn't move me in any way. Lane: I was asked. This was the biggest mistake of my life. ... A Friars [Club] Roast that was going to happen. [Jerry Lewis] was going to be roasted. And Richard Belzer said to me, 'Oh, Nathan, would you be a part of it? Would you do it? It would mean a lot to Jerry.' And I'm like, 'Oh, yeah, sure. I'll do the roast.' And then I'm suddenly there and I'm sitting next to Paul Shaffer and Jeff Ross, who apologized in advance for what he might say. And I realized then that, 'Oh, you're not getting up and just roasting this person. You're attacked. You're on the dais.' So I thought, 'Oh, what have I gotten into?' And I had asked them, 'Please let me go first.' And I had worked out jokes. I had a couple of writers help me, and there was an initial joke, which was, 'The only reason I agreed to do this was because I thought by the time it happened, Jerry would be dead.' Walter: I'm on a show that's got a lot of kids, and families can watch it together, which was [creator] Quinta Brunson's intention. But there are things that the kids won't get and that adults get. Melissa Schemmenti gets bleeped out regularly because she curses. She's South Philly! As a comic, I only am interested in edge, that's where I want to live … It's easier to make a point and get ears when you're making people laugh. And we do that on the show quite frequently. They'll do a storyline about the school-to-prison pipeline, but it's not ham-fisted, it's not preachy. It's edgy and it's all within jokes. Anytime you're making people laugh, I think you can say whatever you want. What's the strangest or most difficult skill you've had to learn for a role? Hudson: In 'Almost Famous,' [director] Cameron [Crowe] wanted me to learn how to roll cigarettes fast with one hand. And so I was learning how to roll, and I got really good at it really fast. And then when we were doing camera tests, I was doing it and I was smoking. And he was like, 'No.' And I was like, 'What? I just spent months trying to learn how to do that!' Then I started rolling my own cigarettes and got into a really bad habit and then spent years trying to quit. Downs: On 'Broad City,' I had to learn and do parkour. It's high skill level and high risk. You know, when you jump off buildings and roll around ... [leap] off chairs and over fire hydrants. I did it, but not a lot of it ended up onscreen. Just the most comedic moments. I jumped between buildings and they didn't even put it in! Lane: When I did 'Only Murders in the Building,' they said, 'So you have a deaf son and you're going to have scenes with him in ASL [American Sign Language].' It was challenging. I had a coach and I would work with him. And the wonderful young actor, James Caverly, who is Deaf ... he was very supportive. If I had to become fluent, it would've taken six months to a year to do it well. But I had an advantage; they said, 'Oh, your character is embarrassed by having a deaf son, so he didn't learn it until later in life. So he's not that good at it.' But it was a great thing to learn. I loved it. Grier: I did an episode of a sitcom in which it was assumed, unbeknownst to me, that I was very proficient playing an upright bass. This is not true. I played cello as a child. I had to play this upright bass and as a jazz musician. It was horrible. Your fingers swell and blister and bleed. Of course, I went along with it because that's what we're all supposed to do. But by Day 4, my fingers were in great pain. I never mastered it. But I did want to ask them, 'Who told you I could play?' Everett: I did a little trapeze work, but since the knee thing, I can't anymore … [Laughs] Lane: This was the independent film about the Wallendas, right? Everett: The truth is I've never had to do anything. Really. I had to rollerblade once in a Moby video, but that doesn't seem like it's going to stack up against all this, so maybe we should just move on to the next person. I would do trapeze, though. I'll do anything. Well, not anything. Can we just edit this part out in post? Hudson: I'm in love with you. Walter: In a movie I did where I started out as the nosy neighbor, I found out that I was going to be a cougar assassin and I had to stunt drive a Mustang and shoot a Glock. It was a surprise. Literally. When I got to set, I saw my wardrobe and went, 'I think I'm playing a different character than what I auditioned for.' ... They put the car on a chain and I got T-boned. I was terrified, but then I was like, 'Let's go again!' That was the most dangerous thing until I had to do a South Philly accent as Melissa, and do it good enough so that South Philly wouldn't kill me. That was probably more dangerous. Let's talk about typecasting. What are the types of roles that frequently come to you, where you're like 'Oh, my God, not again!' Lane: Oh, not another mysterious drifter. Hudson: Rom-coms. If I can't get a job doing anything else, I can get a job doing a romantic comedy. When you have major success in something, you realize the business is just so excited [that] they want you in them all the time. It really has nothing to do with anything other than that. It's something that I'm very grateful for, but you're constantly having to fight to do different things. I'd be bored if I was constantly doing the same thing over and over again. But it's just how the business works. Once you're in that machine, they just want to keep going until they go to somebody else. Walter: I can't tell you how bored I am with being the gorgeous object of men's desire. I named my first production company Fat Funny Friend … But as a mother of four in Los Angeles, I didn't really have the luxury of saying, 'I want to branch out.' But I did say, 'Can I play someone smart?' My father was a NASA physicist. My mother was brilliant. I was over doing things I could do in my sleep, always getting the part of the woman who sticks her head out of the trailer door and goes, 'I didn't kill him, but I ain't sorry he's dead!' ... It's like, 'Can I play someone who has a college education?' And I did, finally, but it took Quinta to do it. Grier: I've found that the older I've gotten, the roles I'm offered have broadened. And I've played a variety of really challenging great roles because I'm old now. That's been a real joy because I didn't really expect that. I just thought I'd be retired. I did. So it's been awesome. Lane: There was an article written about me, it was sort of a career-assessment article. It was a very nice piece, but it referred to me as the greatest stage entertainer of the last decade. And as flattering as it was, I can find a dark cloud in any silver lining. I felt, 'Oh, that's how they see me?' As an 'entertainer' because of musicals and things [I did] like 'The Birdcage' or 'The Lion King.' I'd been an actor for 35 years and I thought, 'I have more to offer.' So I wound up doing 'The Iceman Cometh' in Chicago ... and that would change everything. It was the beginning of a process where I lucked out and got some serious roles in television, and that led to other things. But it was a concerted effort over a period of 10, 15 years, and difficult because everybody wants to put you in a box. Is it difficult in the industry to make the move between drama and comedy? Walter: It's a lifelong consternation to me that there is an idea that if you are known comedically, that's what you do. We are quite capable of playing all of the things. Grier: I remember seeing Jackie Gleason in 'The Hustler.' I loved it. He was so great. Robin Williams also did serious. I think it's actually harder when you see serious actors try to be comedians. Downs: One of the things about making 'Hacks' is we wanted to do something that was mixed tone, that it was funny and comedic but also let actors like myself, like Jean, all of these people, have moments. Because to us, the most funny things are right next to the most tragic things. Hudson: And usually the most classic. When you think about the movies that people know generation after generation, they're usually the ones that walk the line. And they're the ones that you just want to go back and watch over and over and over again. Everett: I haven't had a lot of experience with being typecast because I've been in the clubs for a long time doing cabaret. But on my show, Tim Bagley, who plays Brad … he's been doing the same characters for I don't know for how long. So we wrote this part for him, and one of the most rewarding things for me on this show was sitting behind the monitor and watching him get to have the moment he deserved ... It's one of the greatest gifts to me as a creator to have been part of that. It's a whole thing in my show. We're all getting this break together. We've all struggled to pay our rent well into our 40s. I waited tables into my 40s, but you don't give up because you love doing it. I'm sure many of you are recognized in public, but what about being mistaken for somebody else who's famous? Grier: I went to a performance of a David Mamet show on Broadway. I went backstage, and this particular day, it was when Broadway was raising money to benefit AIDS. There was a Midwestern couple there with their young son and they saw me, and the house manager said, 'This couple, they're going to give us an extra $1,000 if you take a picture with them. Would you mind?' I'm like, 'Yeah, cool.' So I'm posing and the dad goes, 'It is our honor to take a picture with you, Mr. LeVar Burton.' Now in that moment, I thought if I say no, people will die. So I looked at them and I went, 'You liked me in 'Roots?'' He said, 'We loved you.' Click, we took the picture. I'm not going to be like, 'How dare you?!' Walter: Peg Bundy I got a couple of times. But as soon as I open my mouth, they know who I am. I can hide my hair, but as soon as I talk, I'm made. Hudson: I've had a lot of Drew Barrymore. And then every other Kate. Kate Winslet, Katie Holmes ... I've gotten all of them. Walter: Do you correct them? Hudson: Never. I just say yes and sign it 'Cate Blanchett.' I'd love to know who everybody's comedic inspiration was growing up. Walter: My dad used to let me stay up and watch 'The Smothers Brothers Comedy Hour' and 'Laugh-In.' I got to see Ruth Buzzi, rest in peace, and Goldie Hawn and Lily Tomlin. Jo Anne Worley. All these funny women. That's what made me think, 'You can get a job doing this, the thing that I get in trouble for at school?!' Grier: My comedy hero was Richard Pryor. I was this Black little boy in Detroit, and George Jessel would come on 'The Mike Douglas Show' and he might as well have been speaking Russian. I'm like, 'How can this be comedy?' Then I saw Richard Pryor, and he was the first comic who I just went, 'Well, this guy's hilarious.' Downs: I remember one of the first comedies that my dad showed me was 'Young Frankenstein.' I remember Teri Garr, Cloris Leachman and Madeline Kahn. All of these women. I was always like, 'They're the funniest ones.' Hudson: My era growing up was Steve Martin, Martin Short, Albert Brooks, Mel Brooks. But women were, for me, the classics. Lucille Ball. Walter: There was a time when I was growing up where women really dominated comedy. They were your mom [nods at Hudson, Hawn's daughter], Whoopi [Goldberg], Bette Midler. The biggest stars of the biggest comedies were women, and then that all went away for a really long time. I think it found its way back with Judd Apatow and then he made 'Bridesmaids.' Hudson: I tried really hard to make edgy comedy and studios wouldn't do it. They wouldn't. It took Judd to convince the studio system that women are ready. That we can handle rated-R. In the '70s and '80s, there was a ton of rated-R comedy with women. But for some reason, it just all of a sudden became like, 'Oh, there's only 1½ demographics for women in comedy.' I always felt like it was an uphill battle trying to get them made. Then I remember when Jenji [Kohan] came in with 'Orange Is the New Black.' That was really awesome. Lane: Above all, it was always Jackie Gleason for me. He was such an influence. He was hilarious, and of course, very broadly funny, but then there was something so sad. It was such pathos with him. ... He was this wonderful, serious actor, as well as being Ralph Kramden. Everett: There's nobody that taught me more about how to be funny than my mom. She just had this way of being that I have used in my live shows. It's led to where I am now. She used to wet her pants [laughing] so she had to put towels down on all the chairs in the house. She just didn't care. That shows you to not care, to go out there. I live in fear, but not when I feel like she's with me. Grier: That's the edge. You're either going to weep or you're going to [laugh] until you urinate.
CNN
a day ago
- Entertainment
- CNN
Rosie O'Donnell is back on the small screen as a nun having the time of her life in ‘And Just Like That…'
Rosie O'Donnell has moved an ocean away from Hollywood, but she's still entertaining audiences. The actress and former talk show host shared with Variety how she ended up playing a lesbian nun having a New York City adventure in 'And Just Like That…,' which returned for its third season on HBO Max on Thursday. O'Donnell explained that she has long been friends with Cynthia Nixon, who plays Miranda on the comedy and its prequel, 'Sex and the City.' 'My daughter was actually her assistant on set,' O'Donnell explained. 'She put her on there, and then she said, 'By the way, Michael told me that he has a role for you. Are you up for it?' I said, 'Are you kidding me? In a minute!' I didn't even have to think about it.' O'Donnell has also known the show's creator, Michael Patrick King, for more than 30 years. 'When I was a young comedian, he was in a comedy duo called King and Mindy — Lisa Mindy and Michael King,' she said. 'I used to hang out with them at Catch a Rising Star and at the Improv. It's been pretty amazing to see the people that began together doing so well.' As for being gay in real life and learning that King had created a lesbian nun character for her, O'Donnell said, 'I laughed my a** off. I thought — I know how to play this character.' 'I was very, very happy to be doing all my scenes with Cynthia. It was not acting for me. I don't have to act in love with her, because I've been in love with her for many years,' O'Donnell said. 'I saw her in 'Wit,' on Broadway, and even though I had known her for very many years and was friends with her in a real way, when I went backstage, I was awestruck and couldn't find my words.' O'Donnell, who has also appeared on the HBO comedy 'Hacks' this season, said people like the character she plays, Mary, who discovers her sexuality later in life, are common. 'I know many women who only come to it in their 40s, and how hard it is when they set up a life with a man and children, and then they come to realize this basic thing about themselves,' she sad. 'I understand their struggle. It was a relatable character — somebody who, for all different reasons, wasn't able to be in touch with who they were, and then came to find the beauty that awaits the rest of her life.' She also reflected on having moved to Ireland from the United States. 'Never, for one moment since I arrived here, did I regret my choice,' O'Donnell said. 'People have been so welcoming, so accepting, and they have a different view of celebrity in the culture here,' she added. 'They are not prioritized over other people. People are much more friendly and intimate with each other in a real way.' HBO Max and CNN are both part of Warner Bros. Discovery.
CNN
a day ago
- Entertainment
- CNN
Rosie O'Donnell is back on the small screen as a nun having the time of her life in ‘And Just Like That…'
Rosie O'Donnell has moved an ocean away from Hollywood, but she's still entertaining audiences. The actress and former talk show host shared with Variety how she ended up playing a lesbian nun having a New York City adventure in 'And Just Like That…,' which returned for its third season on HBO Max on Thursday. O'Donnell explained that she has long been friends with Cynthia Nixon, who plays Miranda on the comedy and its prequel, 'Sex and the City.' 'My daughter was actually her assistant on set,' O'Donnell explained. 'She put her on there, and then she said, 'By the way, Michael told me that he has a role for you. Are you up for it?' I said, 'Are you kidding me? In a minute!' I didn't even have to think about it.' O'Donnell has also known the show's creator, Michael Patrick King, for more than 30 years. 'When I was a young comedian, he was in a comedy duo called King and Mindy — Lisa Mindy and Michael King,' she said. 'I used to hang out with them at Catch a Rising Star and at the Improv. It's been pretty amazing to see the people that began together doing so well.' As for being gay in real life and learning that King had created a lesbian nun character for her, O'Donnell said, 'I laughed my a** off. I thought — I know how to play this character.' 'I was very, very happy to be doing all my scenes with Cynthia. It was not acting for me. I don't have to act in love with her, because I've been in love with her for many years,' O'Donnell said. 'I saw her in 'Wit,' on Broadway, and even though I had known her for very many years and was friends with her in a real way, when I went backstage, I was awestruck and couldn't find my words.' O'Donnell, who has also appeared on the HBO comedy 'Hacks' this season, said people like the character she plays, Mary, who discovers her sexuality later in life, are common. 'I know many women who only come to it in their 40s, and how hard it is when they set up a life with a man and children, and then they come to realize this basic thing about themselves,' she sad. 'I understand their struggle. It was a relatable character — somebody who, for all different reasons, wasn't able to be in touch with who they were, and then came to find the beauty that awaits the rest of her life.' She also reflected on having moved to Ireland from the United States. 'Never, for one moment since I arrived here, did I regret my choice,' O'Donnell said. 'People have been so welcoming, so accepting, and they have a different view of celebrity in the culture here,' she added. 'They are not prioritized over other people. People are much more friendly and intimate with each other in a real way.' HBO Max and CNN are both part of Warner Bros. Discovery.
Yahoo
a day ago
- Business
- Yahoo
‘Hacks' Season 4 Finale: Creators Talk Series Endgame, Potential For Jimmy-Kayla Spin-Off, & HBO Series ‘Kansas City Star' In Development
Hacks Deborah Vance (Jean Smart) goes to hell and back in the Season 4 finale of Hacks, which aired on HBO Max tonight. More from Deadline 'Hacks' Renewed For Season 5 By Max 'Hacks' Season 4 Release Schedule: When Do New Episodes Come Out? Everything We Know About 'Hacks' Season 4 So Far After blowing up her late-night dreams, she finds herself under a network non-compete in Episode 10, 'Heaven,' which states that she can't perform as a comedian for 18 months. Ava (Hannah Einbinder) encourages her to make the most of her mandated time away from the spotlight, in the writing of a new act, but Deborah instead sets out to find a legal loophole that will allow her to skirt the agreement. At loose ends for perhaps the first time in her life, Deborah pays a visit to former manager Marcus (Carl Clemons-Hopkins), trying to convince him to come back to work alongside her — though he's now content to oversee a warehouse producing solar panel materials. Marty (Christopher McDonald) offers Deborah an extended stay at a Hawaiian hotel where he's a part owner, and while it looks for a moment that she's resigned herself to jet off for a vacation with Ava and set work aside for a beat, Ava is surprised to wake from the trip in Singapore instead. Deborah has found her loophole: She's negotiated a limited run in a casino, where she'll perform through a translator, circumventing the terms of her late show contract. Over time, the run extends into a residency, and Deborah lives the high life, partying too much as Ava becomes increasingly disillusioned. Ava accuses Deb of having given up — after all, she hasn't written new material in months — and is sent packing following yet another big argument with her boss. But when Ava wakes on the morning of her flight, it's to frantic texts and calls, letting her know that TMZ has reported Deborah dead. Fear not, though, as she's very much alive. This was just a case of an obit being prepped in advance and accidentally published. In any case, the moment serves its purpose for Deborah, lighting a fire under her to get back to the U.S. and have the final say in the writing of her story. Hours before Hacks' Season 5 renewal was formally announced, creator-showrunners Lucia Aniello, Paul W. Downs, and Jen Statsky hopped on Zoom with Deadline to break down the finale and preview their endgame for the series. Here, they discuss signs of 'character growth' for Deborah, a big evolution in her dynamic with Ava, whether they'll stick to a five-season plan for the series, the potential for a Jimmy-Kayla spin-off, their Kaley Cuoco comedy Kansas City Star in development at HBO, and more. Hacks JEN STATSKY: Good! We feel privileged and honored to get to do another season of this show. LUCIA ANIELLO: Yeah. In a world where five seasons of a comedy is extremely rare, we count our blessings. PAUL W. DOWNS: And it shouldn't be, but it I think the fall. We have been writing, so behind the Zoom tab is another tab. We're in process. DOWNS: It just felt right. I mean, in [Episode 9] 'A Slippery Slope,' Deborah gives up her white whale, and it was something we always knew we would do, and it really took four seasons to get there. All of the ups and downs of their relationship, and all of the twists and turns of Deborah's career have led to this moment where she says, 'I'm going to actually put someone before my career, and I'm going to do right by my career as a comedian and not make a show the wrong way.' So obviously it's a huge character growth for Deborah. And I think that it's just something that we've always planned to do. We always knew we wanted her to get the late-night show; we always knew we wanted her to give it up. And I think at the end of four seasons felt Yeah, although we didn't know it was Season 4. Initially we were like, 'Oh, maybe she gets the late night show in Season 3. Maybe it's half of a season.' So all of the tentpoles are there. It's just, when we roll them out and how long we stay with certain stories kind of depends on how we break each season with our Going to Singapore, I think what we were searching for there was basically Deborah, since she's kind of banished from performing in English, she always finds a loophole. For us, the way that she in her career ended up going to Vegas, when she was tossed out of the entertainment industry, she kind of likes to find these places where she can build her own reality, her own fortress. And for us in Singapore, that was her doing the same thing. She was creating a world where she could live in the lap of luxury and do what she wanted to do, which is perform, so she figured out her own kind of loophole. In terms of the Bob Lipka of it all, I think we actually thought it was more interesting for her not to be able to get out of the non-compete…Obviously, that's not necessarily set in stone. We haven't written the rest of the series. But that did feel like to give him a checkmate would be really putting her in an interesting position and a lack of power, which isn't really something we've seen before. So for us, we're really trying to put our characters in new situations you haven't seen them in. That is what led us to the spirit of the finale, which is to see Deborah in an extremely, extremely low place, and a place which is very different than we've ever seen, which we thought was particularly interesting after she has kind of an emotional climax of just making the right choice in our minds. So for us, in terms of where we left it, I think that's the thing that we've found to be the most interesting, is when Deborah Vance has something she wants, she's reinvigorated and she's excited for life. So we wanted to end the season with her excited about her new goal, instead of just ending in a, 'Well, that was that. I finished my late-night show, and that's the end, and I chose Ava.' Just because that could feel like a series finale, and we just don't feel like that's where we wanted to end the season. So that is why we kind of had this epilogue episode that got to explore different things and put them in a new scenario. For us, in terms of the form of the episode, it feels different than the rest of the series. And for us, we like to challenge ourselves and try to make episodes of the show that you don't see coming. So for us, it's a really special episode. DOWNS: Although we did always talk about those things. Like, could she get out of [the contractual agreement]? Could she do this? Could she talk about the affair? But obviously, the affair could tarnish the way in which she earned the show. So we were like, can't really do that. And also, knowing that we wanted to get to this place where Ava in Season 3 says, 'You'll never put someone before your career,' we needed to give Deborah the opportunity to put someone before her career. And there's not going to be a greater moment, or a more heightened moment than giving up her white whale, this dream that she's had. STATSKY: Yeah. She does this amazing thing in 9, which is both an emotional and moral victory for her. But we always, after being a comedy first, want to treat our characters as real people and in a grounded way. And we wanted to honor the fact that this was Deborah's dream for her entire life. And even though she knows it was the right choice to walk away, that doesn't mean it's easy. If you've been muzzled and she's not going to be able to do the thing she loves more than anything — the thing she's addicted to, as we've shown — that's going to really put her in a low place, and really put her in a place of grieving and feeling adrift, and everything that you see happen in Episode 10. So, then we've always talked about this story of an obituary being leaked of a famous person because we find it so fascinating. The idea of doing this story with Deborah has been around since Season 1 because all of us were taken very much with the story of Alfred Noble, who had invented dynamite, and then his obituary was accidentally printed and it said, 'The merchant of death is dead.' The obituary was about all the people his invention had killed, and it made him realize what his legacy was, and his legacy was someone who had hurt others and taken lives from people. And so it made him reevaluate and want to establish the Nobel Peace Prize in his will, which he did. So we always have really thought it was so interesting to have a famous main character who this could happen to, who could see their life the way it would be remembered, and perhaps not like what they see, and still have the chance to change that. To get a second chance at writing your legacy is such a rare, incredible thing, and we really wanted that to be the fire that would be lit under Deborah going into Season 5. DOWNS: I think after what happens in 'A Slippery Slope,' they're so ride or die for each other. They really have, I think, sealed the deal. They're creatively bound, and I think Ava has said this in the past, that as much success as she's had on On the Contrary — which was that weekly news show that she worked on and was offered the head writer job of — or the success she's had in her past, she gets so much satisfaction from working with Deborah, I think because writing can be a very solitary thing. I think their creative collaboration is the most satisfying thing for her. So I do think they are in the best place they've ever been. Of course, they're still going to have philosophical differences because they're two women of very different generations, and the way they see the world is different. They are always going to have grist, and that's sort of the secret sauce of the show. But I don't think they're going to be at odds in the same way We are digging into that right now because their relationship has certainly evolved, as well. They're like a bizarro version of Deborah and Ava, and things have changed for them, but also we have to remember that two of their highest-earning clients now are out of a job and are in Singapore. So what's happening with their fledgling management firm is yet to be seen. We have a lot to explore with them. I don't even actually know all the answers. STATSKY: But they're ride or die, too. Just like Deborah and Ava, at the end of the season, are ride or die. DOWNS: You know what it is? They're all family — and you can't choose your family. Hacks ANIELLO: We very much know where we want to end the series; it's how we pitched the show originally. Right now, we're still writing towards it ending in the fifth season. But that being said, we have a lot of things we want to do this season. A lot of stories we want to pay homage to and a lot of characters we want to do right by. So that being said, there's always a world where it's more than the amount that we can turn out in a year. Because we really like having the show out every year. But we are really in the middle of figuring it out. If it's not done in five, it's close to it. But we shall see. Hacks DOWNS: We're asked that a lot, and the truth is that we have so many funny scenes for Jimmy and Kayla that don't end up in the show, and we're like, 'Well, that's going to be for a different show.' Because there's oftentimes stories that we want to tell with them that there just isn't room for in an ensemble show, especially one that's a character study of this woman, and they really are best served when they dovetail with Deborah and Ava's stories. So you're right. There's certainly a lot of material there, and it would be a lot of fun. I think we would absolutely be open to it, but we haven't been asked to do it. So, you know. ANIELLO: Start the petition. DOWNS: We need the Deadline blast. We need the groundswell. ANIELLO: And that's up to We're very much just concentrating right now on finishing Hacks. It's not something we're juggling really at the same time. STATSKY: HBO and HBO Max have been such incredible creative partners. Everyone there is just so wonderful and listens to creatives first. Hacks is this thing that exists and it's so important to us, and we're able to focus on that and dedicate ourselves to that. And so while we have things that we're super excited about, including this Kaley show, it's not taking up the majority of our time right now. The majority of our time is Hacks, Hacks, Hacks….and maybe, the Jimmy-Kayla spin-off. Best of Deadline Everything We Know About Netflix's 'The Thursday Murder Club' So Far 2025 TV Series Renewals: Photo Gallery 2025 TV Cancellations: Photo Gallery
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Kathy Bates, Mara Brock Akil, Natasha Lyonne, and More to Receive Awards at IndieWire Honors
IndieWire, the definitive outlet for creative independence in film and TV, announced on Wednesday, May 7 the return of the Spring edition of its IndieWire Honors event celebrating the creators and stars responsible for some of the most impressive and engaging work of this TV season. Hosted by comedian Robby Hoffman, known for her memorable guest appearances on 'Hacks' and 'Dying for Sex' this year, IndieWire Honors will celebrate its honorees at an intimate cocktail reception taking place Thursday, June 5 in Los Angeles. Exclusive editorial content, including honoree profiles, will also be featured on IndieWire beginning May 28 and will continue throughout the lead-up to the awards night, followed by video interviews and more content from the event. More from IndieWire Joe Wright's 'Mussolini: Son of the Century' Epic Series Will Be Distributed by MUBI - Watch New Teaser 'The Last of Us' Review: Episode 5 Stares Death in the Face and Asks for More - Spoilers 'Each year, IndieWire Honors celebrates the artists who are redefining the boundaries of storytelling and pushing the industry forward,' said Dana Harris-Bridson, IndieWire's senior VP and editor-in-chief. 'The 2025 honorees exemplify the innovation, courage, and creative vision that inspire us all. We're proud to shine a light on these voices and continue our tradition of championing the boldest talents in film and television.''It's spring and IndieWire Honors is back, our unique take on an awards event where honorees and attendees mix and mingle while celebrating our favorite series and the talent behind them,' said IndieWire senior VP and publisher James Israel. The Spring 2025 IndieWire Honors honorees, as curated and selected by IndieWire's editorial team, are as follows: Given her reputation for bringing an invigorating energy to every role she takes on, big or small, it's no surprise that a reimagining of the classic legal procedural 'Matlock' headlined by Kathy Bates has been such a success. The actress is an anchor, helping the audience see the heart of the material, no matter how high the concept. While it once was common for actors to overthink taking on a TV role versus a film role, Bates has proven how one can freely and effectively bounce between both mediums, earning Emmys and an Oscar along the way. It is rare to see someone so pivotal to the TV landscape feel like they are just getting started. After working on iconic Black sitcoms like 'Moesha' and 'The Jamie Foxx Show,' and creating 'Girlfriends,' where she hired several writers that would also become game-changing showrunners, Mara Brock Akil is making her long-awaited Netflix series debut 'Forever,' inspired by the groundbreaking Judy Blume novel of the same name. Now taking place in 2018, the teen romance is a balm for audiences hoping to find the tenderness and connection lacking in modern times. Coming on as an executive producer and director helping bring creator Dan Erickson's vision of 'Severance' to life, actor and filmmaker Ben Stiller has hit his stride behind the lens of the Apple TV+ series. Split between two worlds that both feel all too uncanny to anyone who has passed through white collar wastelands, the Apple TV+ series has an immersive sense of malaise diffused by his collaboration from day one with cinematographer Jessica Lee Gagné, who went on to also direct the episode 'Chikhai Bardo,' a highlight of the highly acclaimed second season. Cutting her teeth as the star of women-directed indies like 'Slums of Beverly Hills' and 'But I'm a Cheerleader,' whose posters still line the walls of precocious teenagers' bedrooms, the now-multi-hyphenate Natasha Lyonne has solidified herself as a singular talent that writes, directs, and stars in TV series that redefine what creators can accomplish in the streaming era. With Peacock's 'Poker Face,' created alongside Oscar-nominated filmmaker Rian Johnson, Lyonne has managed to turn a classic whodunnit into an impeccably written, well-crafted showcase for some of the most exciting stars of today. The countless hours spent between 'The Penguin' star Colin Farrell and makeup designer Mike Marino proved to be foundational to the success of the HBO crime drama spinning off from the 2022 blockbuster 'The Batman.' The actor is completely transformed, but is not weighed down by prosthetics that hinder his capabilities to give a nuanced performance of a superhero rogue that fans thought they already knew. That kind of symbiosis of crafts, where the pair pushes each other to new creative peaks, has already led to several awards, and calls for the limited series to be revived, whether the Batman returns or not. A throwback in form and function, the Ramy Youssef and Pam Brady creation '#1 Happy Family USA' on Prime Video is a reminder of how animation can be the perfect medium for transgressive stories that can challenge the audience's worldview, while also challenging them not to laugh. It is finally not too soon to joke about how the world changed after September 11, 2001, with Brady and Youssef teeing up an animation style that transports viewers to the time, and holding up a mirror for everyone to see the actions of many that are now painfully regrettable, yet hilarious. It may be pat to refer to documentary projects as stranger than fiction, but watching 'Ren Faire' from documentary prodigy Lance Oppenheim, it is bizarre how well the narrative of a megalomaniacal entrepreneur toying with his wannabe successors foreshadows current events we are mustering through. And that is not to say there isn't any fun to be had with 'Ren Faire,' which is full of energy and comedic beats that rival the best sitcoms. In a field as expansive as documentary, it can be incredibly hard to develop a unique voice, but the young filmmaker has already proven himself able to provide something fresh, spotlighting idiosyncratic subjects that keep viewers on the edge of their seats. A few years out from her devastating, Emmy-winning turn in 'Mare of Easttown,' actress Julianne Nicholson returns to TV on the new Hulu series 'Paradise' where everything is not what it seems. It's easy to call her character Sinatra the most captivating villain of this overall television season, but Nicholson places all the pieces down to challenge that designation throughout the Dan Fogelman-penned series. Sure, she is unapologetically focused on her survival, and maintaining a sense of control, which makes for delicious tête-à-tête with lead Sterling K. Brown, but she does so having experienced a loss that would be transformative for anyone to have gone through. All it takes to impress upon anyone who has seen the Netflix series 'Adolescence' just how talented its breakout star Owen Cooper truly is: tell them that the first episode the newcomer shot is the one opposite Erin Doherty, where he turns the table on her as counselor trying to evaluate whether he is aware of his fatal actions. Cooper is but one modern teenager (and still in school to boot), but through his performance in the Stephen Graham and Jack Thorne-created series, he has become a conduit for needed conversations about how to contend with the toxic culture preying upon young men worldwide. Though the entrance of Harrison Ford and Helen Mirren into the 'Yellowstone' universe piqued the interest of many, Paramount+ series '1923' has provided a needed education to its viewers about the atrocities committed against indigenous Americans through star Aminah Nieves. Though it is incredibly tough to shoulder the burden of depicting a difficult piece of North American history parties are still actively trying to erase, the young star has done so with aplomb, ending the second and final season of the Western saga on a triumphant note that provides the foundation for many more indigenous stories to be told for years to come. Best of IndieWire Guillermo del Toro's Favorite Movies: 56 Films the Director Wants You to See 'Song of the South': 14 Things to Know About Disney's Most Controversial Movie The 55 Best LGBTQ Movies and TV Shows Streaming on Netflix Right Now
