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Making of ‘Mid-Century Modern': How comedy legends created Hulu's freshest sitcom starring Nathan Lane and the late Linda Lavin
Crafting a hit comedy is all about collaboration, and Mid-Century Modern proves just that. Hulu's multi-cam sitcom, set against the vibrant Palm Springs aesthetic, benefits from decades of combined expertise poured into every frame by its talented behind-the-scenes team.
Led by co-creators Max Mutchnick and David Kohan (Will & Grace), the all-star crew of this freshman series shares their insights in an in-depth discussion about the making of Mid-Century Modern. The panel features legendary director and co-executive producer James Burrows, editor Peter Chakos, cinematographer Gary Baum, and production designer Greg Grande. (Watch the full Making of Mid-Century Modern panel above.)
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In Mid-Century Modern, Nathan Lane plays Bunny, a successful bra designer who invites his pals Jerry (Matt Bomer) and Arthur (Nathan Lee Graham) to spend their golden years living with him in Palm Springs after a close friend dies unexpectedly. Bunny's quick-witted mother, Sybil (played by the late Linda Lavin in her final TV appearance), mixes things up as the fourth roommate.
'As younger people, we always wanted to write about older people, just because they had lived more life and had had more interesting stories to tell. And now as older people, we find ourselves wanting to write about our peer group,' Kohan says. The cocreators revisited an old script they had worked on years ago titled Senioritis, shedding its original retirement home premise but keeping the heart of telling stories about people with lives and relationships spanning decades.
Mutchnick adds, 'We didn't understand why a network, in the glow of the Friends craze, didn't want to make a show about Tony Curtis, Alan Arkin, Sandy Dennis, and Elaine Stritch. But, you know, we put a pin in it, and now we get to kind of visit that world.'
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One major turning point for the series was bringing in producer Ryan Murphy, whose expertise in casting elevated the show to new heights. Mutchnick recounts, 'Ryan was very clear from the beginning, 'I don't do what you guys do, but there is a thing that I do very well, and it's casting and marketing these shows.' And he really delivered with flying colors.' Murphy had Nathan Lane on board by the end of the day, and sparked the team to rewrite the part of Jerry for Matt Bomer.
The casting process wasn't just about securing big names, but finding the right chemistry. Kohan recalls seeking validation from their director, James Burrows, when considering Linda Lavin: 'Jimmy said, 'She's a heat-seeking missile with a joke. She's the best of the best.' That was basically the end of that conversation.'
Mutchnick notes, 'You put these casts together and you know that when you're done, the show is either going to work or it is not going to work. One weak link on a multi-cam stage can bring an entire show down. We didn't have that here.'
Editor Peter Chakos adds, "Working with [Max and David] is always great because I know the show is going to be hilarious. It goes back to Will & Grace. These are the funniest shows I've ever worked on — Will & Grace and Mid-Century Modern. They're funny shows with endearing characters. It's so important in a sitcom that you like the characters when you're watching them."
Burrows, who has directed some of TV's most iconic sitcoms (Taxi, Cheers, Will & Grace), emphasizes the collaborative process as the core reason he signed on to direct Mid-Century Modern. 'For me, the most important thing is not the cast to begin with; it's the writing and the ability of the collaboration between me and the writers. A lot of times, I'll read a really good script, and I talk to the writers, and there's no flexibility. They're defensive instead of defending their material. This was different.'
Burrows also reveals that the magic truly emerged during the cast table read: 'I think all of us were incredibly and pleasantly surprised when these guys interacted with one another like they had been together forever.'
Production designer Greg Grande echoes the importance of harmony across the team, saying, 'It's not just the chemistry of the cast. It's the chemistry of the entire group of people. Whether it's notes from Jimmy or Max and David, it becomes a beautiful experience. You capture something only so many times in your career.'
Grande also shares his vision for bringing mid-century Palm Springs architecture and design to life. 'Palm Springs is near and dear to me. I had a house out there, so I know it well. Bringing to life that flavor of layering and detail was a joy.' Both he and cinematographer Gary Baum worked to ensure the production design felt like a dynamic character in the show.
Baum brought a cinematic flair to the multi-camera sitcom, saying, 'I try to bring some cinematic values into the show that you normally don't see on a sitcom. With Greg's design, I had complete support from Max, David, and Jimmy. That's the fun part—the vibrant color and the detail.'
The sudden loss of Linda Lavin during production shaped the final few episodes of the season, forcing the writers to pivot with a delicate balance of grief and comedy. Kohan reflects, 'The first adjustment is — this is a big personal loss. We're all grieving. And then you go to this idea that now we have to honor her and the character. Fear hits first—what are we going to do? Then over time, with the collaborators, you come to a place where it's like, yes, this is what I would have wanted for Linda.'
Mutchnick adds, 'We knew very early on that if we didn't deal with it directly, it wouldn't be truthful. So we wrote the experience we just had and infused it with the love we had for her.'
With so many career Emmy nominations (and wins) among them, it's no surprise this team values what awards recognition means for a show's future. Kohan points out, 'Validation from something like an Emmy nomination is significant. It's so fear-based right now for executives, so anything that validates a show is helpful.'
Mutchnick makes his case for Nathan Lane as the standout: 'There's not a performance in the comedy category that will touch male lead in a comedy any better than Nathan Lane did on Mid-Century Modern this year. It's a masterclass in male comedy.'
Burrows sums up what sets Mid-Century Modern apart: 'My dad (Abe Burrows) always said it depends what they say [on a show]. We're not having this discussion if the audience doesn't buy into these characters and these actors. That's the genius that Max and David have — writing characters that are windows into this gorgeous set and incredible world. We wouldn't be talking about the cinematography or editing if these characters didn't say the right words.'
In the full video above, watch the team behind Mid-Century Modern discuss in more detail their favorite episodes, most memorable moments, and biggest challenges.
This article and video are presented by Disney/Hulu.
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