Latest news with #RoadDiary
Yahoo
18-06-2025
- Entertainment
- Yahoo
‘Be open to the moment you never expected': How ‘Road Diary' captured Bruce Springsteen and the E Street Band in full force
Road Diary: Bruce Springsteen and the E Street Band is a melancholic blast. In the hands of longtime Bruce Springsteen collaborator, director, and editor Thom Zimny, the many compelling, sometimes contrasting shades of the Boss are on full display in the Hulu documentary — the artist and the showman, the poet and the ham, and above all, a lively force grappling with death and the passage of time. Road Diary follows Springsteen and the E Street Band both in the studio and on tour, bringing people together after the pandemic. More from GoldDerby Tom Cruise finally gets his (honorary) Oscar moment: Here's his complete awards history Alan Cumming would be the 4th person to repeat in Best Reality Host: See fresh Emmy odds Dolly Parton adds honorary Oscar to her trophy shelf: A look back at her legendary awards history Zimny wanted the story of Springsteen and the band's return to the road — after a six-year break — to unfold naturally. 'I did not come in with a preconceived pitch of 'this documentary will reflect the world,'' Zimny told Gold Derby. 'I took my cues from watching Bruce. In those rehearsals, I saw him craft a setlist that dealt with looking at life and the past and loss and the present moment, being alive in the present moment as much as you can. The show itself was a guiding force in the edit.' Capturing the scope of any Springsteen and E Street Band show is a tall order. As Springsteen says in the film's opening, he wanted to throw the biggest party he could with this tour. But in under 100 minutes, how does a filmmaker capture all the intense emotions that flow during the Boss' legendary three-hour shows? 'When I'm looking at how to bottle this experience and put it forth in a film,' Zimny said, 'I try to focus on my own personal memories, taking cues from the faces in the crowd and the connection they're having. And with Road Diary, I wanted to make it an emotional film and film it in a way that captured transitions in people's eyes, transitions while they're listening to the music.' The film also captures Springsteen's evolution from perfectionist to an artist embracing beautiful mistakes. Let the song live how it lives, basically. 'What he said in the documentary, in the spontaneous moment to the band, was that you want to be able to fuck up during the course of the night because it's live,' Zimny said. 'That's what the people are paying for. In that, I find the philosophy that I've held onto in making films with Bruce: come fully prepared, but be open to the moment you never expected.' For Zimny, his own perfectionism kicks in during post-production, specifically in the sound department. Communicating the thundering sound of a Springsteen show is a delicate process. 'Capturing that quality in the mix was an obsession,' Zimny said. 'You feel the bass in your heart and the drums in your stomach, like you're in the pit. Capturing that gave it the cinematic language of a narrative film. There's not a mix just laid onto a clip — every shot had detailed work on crowd sound and instrument balance. We mix to picture. It's not done casually.' Road Diary: Bruce Springsteen and the E Street Band is an immediate portrayal of where the band is today — not just how they play, but how they live. Zimny and his team show how they got there, often through archival footage that — in true Springsteen and Zimny fashion — doesn't soften the edges. 'The power of memory is that the flicker and the lack of clarity evoke a romantic feeling,' Zimny said. 'If I cleaned it up and balanced the color, took out some of the video textures, it would take away some of the soul. But each individual clip is looked at closely. How far do you go to clean it up? You've got to listen to that voice inside the edit room when you just go, 'Wow, this really takes me back.'' Best of GoldDerby 'It was wonderful to be on that ride': Christian Slater talks his beloved roles, from cult classics ('Heathers,' 'True Romance') to TV hits ('Mr. Robot,' 'Dexter: Original Sin') Sam Rockwell on Frank's 'White Lotus' backstory, Woody Harrelson's influence, and going all in on 'this arc of Buddhist to Bad Lieutenant' Asif Ali and Saagar Shaikh admit they 'never had the audacity to realize' a show like 'Deli Boys' was possible Click here to read the full article.
Yahoo
18-06-2025
- Entertainment
- Yahoo
How ‘Yellowjackets' brought the shocking ‘Pit Girl' hunt to life in Season 3
In Season 3 of Yellowjackets, the girls are no longer alone in the woods. Ever since a plane crash left the Wiskayok High School Yellowjackets soccer team stranded deep in the Canadian wilderness, there's been speculation about whether the surviving members would encounter outsiders at some point during their 19-month stay in the woods. It turns out they would. While the girls are feasting on their freshly deceased assistant coach Ben (Steven Krueger) at the end of the sixth episode of Season 3, "Thanksgiving (Canada)," three hikers — frog scientists Edwin (Nelson Franklin) and Hannah (Ashley Sutton) and their wilderness guide Kodi (Joel McHale) — step foot into the girls' camp. In the remote area to research the mating habits of the rare Arctic Banshee frog, the scientists are lured by a barbecue smell coming from Ben's roasted corpse — unaware of just how much trouble they're walking into. More from GoldDerby 'Be open to the moment you never expected': How 'Road Diary' captured Bruce Springsteen and the E Street Band in full force 'Each season's got its own sort of flavor': 'Slow Horses' director on crafting a darker, more emotional chapter Sam Spector picks Alan Cumming's 5 best looks from 'The Traitors,' including that 'showstopper' wedding tuxedo dress The introduction of the scientists, which was part of series creators Ashley Lyle and Bart Nickerson's original pitch, is consequential in more than just one way. Not only does it lead to another surprising twist — the blood-curdling shrieks the Yellowjackets have been hearing all season aren't coming from the trees, as Travis (Kevin Alves) believes, but from the Arctic Banshee frogs that have woken up from a mating event — but it also introduces a new point of view into the show. "[The Yellowjackets'] world becomes just them, and there is no objective perspective on everything that's happening," says Nickerson, the co-showrunner and executive producer of the Showtime series who made his directorial debut this season, helming both the premiere and the finale. He says the intention behind this new perspective was to "give maybe a hint, or a sense, of what a tremendous, shattering experience" the plane crash survivors' return to civilization would be. The arrival of the scientists and almost instant demise of Edwin at the hands of Lottie (Courtney Eaton) then set off a chain of calamitous events that culminates in another long-awaited reveal in the finale, "Full Circle": the identity of "Pit Girl," the unidentified young woman who falls into a pit, dies, and is consumed by her teammates after being chased through the snowy forest in the flash-forward that opens the show. The girl is Mari (Alexa Barajas), who becomes the unlucky victim of a ritualistic hunt she helped orchestrate as part of a larger plan to take out rising "Antler Queen" Shauna (Sophie Nélisse). Even though the "Pit Girl" hunt in the finale is a departure from the version of the event in the pilot, which appears to record the Yellowjackets at their most feral, Nickerson doesn't believe it's "any more or less savage or ecstatic." "In the pilot, the flash-forwards are meant to be very subjective. They sort of live within the minds of the characters, in a way that the wilderness storyline does not," he explains. "And so, it was trying to play with the real version of something that was kind of an impressionistic distillation. There's the feeling, tone, or the emotional summary of something, and there's the lived, granular experience of it." In this interview with Gold Derby, Nickerson discusses how the introduction of the frog scientists marks an "inflection point" in the series, why the "Pit Girl" chase in the finale does and doesn't reconceptualize the story that was originally promised, how he brought said chase to life as the director of the finale, and more. Gold Derby: The big twist in [Episode 6] is that a pair of frog scientists and their wilderness guide stumble upon the Yellowjackets while they're feasting on Ben. What I think is so interesting about their introduction is that it's the first time we really get to see the Yellowjackets from an outside perspective in the wilderness. How does that perspective figure into the larger story you're telling on the show, particularly in Season 3? Bart Nickerson: What a fun episode that was for us to do, because the frog scientist thing was something we had pitched years and years ago, when we were originally pitching the show. I think that that's also such an important inflection point, because ultimately, in the wilderness timeline, one of the things that we have tried to do is create and give the experience of a loss of perspective. Their world becomes just them, and there is no objective perspective on everything that's happening. And in the present-day storyline, you're really seeing that small aperture, subjectivity of the wilderness post-it being shattered. We kind of hinted at this a little bit in Season 2, like the shattering effect of the return to civilization. One of the strange and fun things about this show is that there is a third timeline, the implied events between past and present. So then you get to work in the future and the past at the same time. And that's kind of what this moment was meant to do: give maybe a hint, or a sense, of what a tremendous, shattering experience the return will be. Something that I've always liked about the show is that there's usually a logical as well as a supernatural explanation for anything that happens. So what really stands out about the shrieks [the Yellowjackets hear in the forest] is that the show does appear to endorse the logical explanation. So why did you and the other writers lean in that direction with this specific reveal? The show is certainly one that traffics in mystery and leaving things kind of ambiguous. It did feel like with this one in particular, maybe because the effect it's going to have is so concrete, that having it better explained just sort of felt right. I think there's also an element, as we're moving through the season towards the apex of some of the wilderness stuff, to not close the loop, but to ground their experience. Colin Bentley/Paramount+ with Showtime The arrival of the scientists — and the ensuing demise of Edwin — then sets off a chain of events that culminates in the reveal of "Pit Girl," who winds up being our dearest Mari, in the finale. I have to confess, I didn't expect the reveal to actually come this early in the story. Was it always planned that "Pit Girl" would be the first victim of the second winter? "Pit Girl" was always meant to be a kind of demarcation. "Going maximum wilderness" is how we talked about it in the room. [It was] like, when we get back up to this, just from a structural standpoint, even back in the pilot, the point was to build tension and to give you just a little bit of a flash, a sense of where this was going, to create a certain amount of tension that allowed you to maybe have a little bit of a slower build to it, to kind of keep saying, "Hey, this is going to get crazy. Just have the patience to go with us to get there." And so then, once you get there, there's a sense that you need to kind of exceed the expectation that you've been creating. That was always part of how the "Pit Girl" death was supposed to land, so that it's sort of the beginning of the end, or moving into something that is hopefully even more heightened than maybe was expected. Yeah, I was thinking about how the "Pit Girl" chase was seemingly set up as a moment where the girls had fully descended into willful, irredeemable savagery, and the finale kind of turns that idea on its head. Because I think a lot of people, when they saw the pilot, thought that, "Oh, all of these girls will be in this ecstatic state after hunting and killing one of their teammates," and then what we see in the finale is obviously a very different version of that storyline. So how does — or doesn't — the finale then reconceptualize the story that was initially promised? Cool question! I think it reconceptualizes by conceptualizing it, if that makes sense. In the pilot, the flash-forwards are meant to be very subjective. They sort of live within the minds of the characters, in a way that the wilderness storyline does not. And so, it was trying to play with the real version of something that was kind of an impressionistic distillation. There's the feeling, tone, or the emotional summary of something, and there's the lived, granular experience of it. One of the things that's really fun for us about this show is getting to do both. We start with the very long-lens version of it, far away, impressionistic. And then we get to move into: "What was it like to experience this?" So to me, it's not any more or less savage or ecstatic; it's just, "What is the real experience of those things?" That kind of takes me to my next question, because obviously, the way the "Pit Girl" chase plays out in the finale is quite different from how it's teased in the pilot. And we understand now that's because it's supposed to be a retelling of the event. Because of adult Shauna's (Melanie Lynskey) journaling session in the finale, the theory among fans is that the pilot is kind of Shauna's recollection of the hunt, while the finale chronicles how it "actually" went down. What's your take on that? I have not heard that! I like it! It's especially interesting if we think back to the pilot, because after we see the crashed plane, it cuts to Shauna reading her journals. [The show] is definitely kind of a double ensemble. All the characters are very important. But in the original inception of the show — which, of course, has grown and expanded — Shauna was meant to be the point-of-view character. And so, the idea that those flash-forwards would tend to favor her perspective — I definitely see where that theory comes from. I am so consistently impressed by, and kind of admire, the fan base's depth of analysis. Having gotten wind of papers that people have written and different things that people have shown me — like deep, thoughtful analysis — that's just really gratifying and kind of exciting, to see that the show inspires that level of care and thoughtfulness. Paramount+ with Showtime The fans are very creative! Bart, you also directed the episode. How did you go about reframing the hunt in the finale, aesthetically, without straying too far from the flash-forwards in the pilot, to the point where people wouldn't recognize the sequence anymore? Going in, the idea was — just, one, for the continuity of it, but also narratively — wanting to have the sequences be connected but have their own kind of identity. Those were the things that we were trying to balance. And then it really does just become a balancing act. And ultimately, balancing is kind of like, "A little more over here — no, it's starting to move too much!" You're just trying to feel your way into the equilibrium. And so, it was just about going as slow as you can [because] a television production is kind of moving very quickly, kind of always. I would be remiss not to mention the opening sequence of the finale as well, which is accompanied by an original song from the composers [Craig Wedren and Anna Waronker], titled "Sleepwalking." This sequence is arguably the most unique one that the show has delivered to date. So talk a bit about putting that together. That was very exciting because I feel like the teaser or opening is kind of often the place where you can get away with the most, or be the most, ambitious, sometimes with different narrative devices that you want to use. Here, one is to sort of give a tableau, or an image, of something that is pointing towards the core of what is beneath the wilderness experience, be that literal or metaphoric. What is the dream image? What is the face of Lottie's subconscious, be it connected to something or [not]. What is that going to look like? And then there's just also the hurdle of wanting to briskly move and tie together a dream-like present with a literal dream with a flashback that has either a shifting point of view or a point of view that lives outside of time. The intent and some of the heavy lifting for some of these narrative devices, just in terms of how they could work and how they could work together, was done on the page [by Ameni Rozsa]. And then, of course, production and [the performers] get to expand on that. And then the song, man. Having composers like Craig and Anna, who are just so versatile and incredibly talented — it really is an embarrassment of riches on this show. Sometimes, just the amount of talent that we get to deploy in the creation of this show is staggering. I completely agree. Bart, the show was renewed for a fourth season last month. Congratulations! Thank you so much! I know it's only been a few weeks, but just briefly, is there anything you can share or tease about the upcoming season — when production might start, what viewers can expect from it, or just anything? The fans would appreciate , I'm sure. [Laughs] My deepest apologies, there's not really anything that I can share. We're very much in the early stages. Maybe you could just extend my hearty appreciation to the fans and [say] thanks for all the theories and the patience. And I can promise one thing: We are going to work our asses off to hopefully deliver another great season. This interview has been edited and condensed for clarity. Best of GoldDerby Sam Rockwell on Frank's 'White Lotus' backstory, Woody Harrelson's influence, and going all in on 'this arc of Buddhist to Bad Lieutenant' 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 Click here to read the full article.
Yahoo
28-05-2025
- Entertainment
- Yahoo
‘Road Diary' director Thom Zimny reflects on 25 years with Bruce Springsteen and capturing fans as ‘music hits their soul'
Director Thom Zimny has spent over 25 years collaborating with rock legend Bruce Springsteen, helping tell the story behind his music and performances. In his latest film, Road Diary: Bruce Springsteen and the E Street Band, Zimny takes fans behind the curtain, showcasing band rehearsals, rare clips, concert footage, and Springsteen's personal reflections. "What's different about Road Diary is that I had this opportunity to play with a bunch of different forms in the filmmaking process," Zimny tells Gold Derby. "I had vérité footage to work with, I had these moments of concert that I wanted to capture, and also, the band at this point was a narrative I wanted to explore." More from GoldDerby 'The worst has already happened, so now I have everything to gain': Meagan Good on love, loss, and empowering women in 'Forever' 'Eureka Day' playwright Jonathan Spector talks vaccine debates, vicious comment sections, and 'the failure of a utopia' Breakout star Owen Cooper admits 'Adolescence' was 'very out of my comfort zone' Springsteen hadn't toured in years due to the Covid-19 pandemic, and Zimny saw an opportunity to explore themes of time, change, and connection. After receiving a call from the musician inviting him to 'drop in at the rehearsal,' Zimny assembled a small crew and began capturing behind-the-scenes moments. 'The story was the band going back on the road,' Zimny explains, 'but the bigger theme was [Springsteen] sculpting a set list that reflected what he was interested in at this moment — looking at the past and reconnecting with an audience.' Zimny's relationship with Springsteen began while working on the Live in New York City concert film for HBO. 'It was the early days of filming with HD cameras, and Bruce hated the way it looked. It was too cold, emotionally. I was a film guy and really connected to what they were struggling with,' Zimny recalls. Through creative approaches — like adding grain and treating musical moments as dialogue — Zimny forged a strong creative bond with Springsteen, which eventually grew into a decades-long collaboration. On the collaborative process for Road Diary, Zimny describes it as organic and improvisational. 'There was no set vision,' he says. 'What happens is, I go to his space, I film for a bit, I cut together some of the things that I see, and I invite him into the edit room... It just builds that way. It's a real luxury as a filmmaker to have that trust.' Zimny also wanted to bring fans closer to the emotional experience of a Springsteen concert. 'There's this moment that happens — and I've seen it many times — this deep connection in someone's face. It's in their eyes. I chase that visual representation of the music hitting their soul,' says Zimny. "I wanted to be this observer of how Bruce and his writing hit and impact an audience. That meant shooting things at certain angles and studying how stage lighting looked in daylight — really trying to find these slowed-down magical moments where you feel like, 'Oh my god. This music is really moving this person.' We're trying to tell as story, but also staying as close as we can to the true musical experience in the filmmaking." Even after working with Springsteen for so long, Zimny remains in awe of the musician's creative drive. 'Even after 25 years, I'm always surprised when he texts me the next adventure he's on,' Zimny shares. Reflecting on Springsteen's recent release of Tracks II: The Lost Albums, which features seven realized albums, Zimny adds, 'The body of work that he's created is just unbelievable. The big surprise that people can't possibly comprehend is the intensity and the focus he has with the work.' "There was a great opportunity with Road Diary to both explain that history and bring it up to date," Zimny shares. "The common thread that I found with all of it was this work ethic and commitment they all carried. Road Diary: Bruce Springsteen and the E Street Band is currently streaming on Hulu and Disney+. This article and video are presented by Disney and Hulu. Best of GoldDerby 'The worst has already happened, so now I have everything to gain': Meagan Good on love, loss, and empowering women in 'Forever' 'The Better Sister': Jessica Biel and Elizabeth Banks on their 'fun partnership' and the 'satisfying' killer reveal The Making of 'Beast Games': Behind the scenes of Prime Video's record-breaking competition series Click here to read the full article.
Yahoo
28-05-2025
- Business
- Yahoo
The Making of ‘Beast Games': Behind the scenes of Prime Video's record-breaking competition series
"What if we brought together more contestants than any competition show ever, offered the largest cash prize in history, designed the craziest games imaginable, and built it all on the most massive sets ever seen?" That was the spark behind Beast Games, according to host, cocreator, and executive producer Jimmy "MrBeast" Donaldson. The record-breaking Prime Video competition series assembled an astonishing 1,000 contestants to face off in intense physical and mental challenges — all for a jaw-dropping $10 million grand prize. More from GoldDerby How 'Rebel Ridge' became the Emmy frontrunner for Best TV Movie TV Documentary panel: 'Brats,' 'Chef's Table,' and 'Road Diary: Bruce Springsteen and the E Street Band' 'Road Diary' director Thom Zimny reflects on 25 years with Bruce Springsteen and capturing fans as 'music hits their soul' "I've always wondered why $1 million was the artificial ceiling [for winning a competition series]," Donaldson says. "Shows get paid a lot more than that." However, the creator admits Beast Games lost money. "My goal with Season 1 wasn't to make money, it was honestly just to make the greatest competition possible. We went a little overkill." One of the show's most significant expenses was the construction of an entire custom-built city, designed by production designer Stephen Leonhardt. SEE'Beast Games' production designer Stephen Leonhardt on redefining reality TV with the most complex sets in TV history "Nobody's done anything like it — and that's what was both so exciting and terrifying about it," says Leonhardt. "We had the same amount of time you have to put together a set for a regular television show, except instead of trying to set up an existing house for a reality cast of 30, we had 500. Just the logistics — how are we going to deal with people going to the bathroom — were overwhelming and only comparable to huge events. It was the mix of a TV set and a full Coachella festival." Leonhardt also notes that much of the industry is geared toward cutting costs. "Every call you get is about doing the same show for less than you did it before. Suddenly, we have these guys who just want to swing for the fences. How can you not get excited about being a part of that? They said, 'We're going to have the highest-budget sets in the history of television.' At first I wondered if I was being taken for a ride, but when I realized they were serious it was thrilling!" For over 20 straight days during preproduction, the set design team had a role call of over 1,000 employees. "They may not be the biggest sets ever made, but they were definitely the biggest sets ever made in that timeframe," Leonhardt says. With 380 million-plus subscribers and more than 2 billion monthly views, MrBeast is the most-subscribed YouTube channel in the world. Beast Games cocreator and executive producer Sean Klitzner credits Donaldson's understanding of digital audience engagement for the show's success "It's learning and understanding what Jimmy has spent tens of thousands of hours studying – the psychological connection an audience member will have with a piece of content," Klitzner explains. "It takes years to understand that. Once you get into that realm, you're able to ask, 'How do we translate your style and your vision of creating content to television?'" Casting 1,000 contestants to compete on the show was a massive undertaking for casting director Katy Wallin. "We put together a strategic plan to go out and find 1,000 amazing people — diverse, all ages, all types — and in my three decades of casting, it was one of the best experiences of my career. It was so challenging in the most positive way." Wallin says she sought out people who were "unforgettable, passionate, and interesting": "This is not a scripted show, so we're not releasing a breakdown and putting actors in roles. These are real people competing in a contest on the biggest show in the history of television. They have to have a really good 'Why?' If we use Jeffrey Allen as an example, who won the show, he had such heart and positivity about him. It wasn't really about [the money], it was about changing the course of his son's life by finding a cure for something. We look for those layered people who are unfiltered and really open to sharing the experiences of their life that will transcend on a show like this." SEE'Beast Games' editor Mack Hopkins on the scene that was inspired by 'Dunkirk' Meanwhile, the enormity of production posed challenges even in post-production. Co-creator and editor Mack Hopkins refers to the show as "the most advanced edit mankind has ever attempted." With 1,000 contestants and more than 1,100 cameras capturing footage, watching every moment was impossible. Yet, serendipity played a role in shaping the story. "The contestants who got first and second place in this show happened to — by an actual miracle — be standing next to each other in Episode 1. We were given — by the grace of God — dialogue exchanges between first and second place in Episode 1! As a person who was trying to tell a story through this whole process, it was unbelievable and I could not believe that happened." In the full panel video above, watch the team behind Beast Games discuss in more detail their favorite episodes, the most memorable contestants, biggest challenges, and jaw-dropping moments. This article and video are presented by Prime Video. Best of GoldDerby 'The Better Sister': Jessica Biel and Elizabeth Banks on their 'fun partnership' and the 'satisfying' killer reveal TV Documentary panel: 'Brats,' 'Chef's Table,' and 'Road Diary: Bruce Springsteen and the E Street Band' 'Road Diary' director Thom Zimny reflects on 25 years with Bruce Springsteen and capturing fans as 'music hits their soul' Click here to read the full article.
Yahoo
26-04-2025
- Entertainment
- Yahoo
‘SNL' Stars Say 50th Anniversary Was Like 'Building Up To A Wedding' – Contenders TV: Documentary, Unscripted & Variety
Saturday Night Live celebrated its 50th anniversary in February with a star-studded concert and an A-list primetime special, a 'huge moment' for the NBC late-night show. Ego Nwodim, who joined the cast in 2018 for Season 44, said during Deadline's Contenders Television: Documentary, Unscripted & Variety event that the three-hour special February 16 felt like 'building up to a wedding.' More from Deadline Deadline's Contenders Television: Documentary, Unscripted & Variety Ready For Liftoff Deadline's Contenders Television Streaming Site Launches 'Road Diary' Director Thom Zimny On Bruce Springsteen's Incredible Capacity To Connect With Fans - Contenders TV: Doc, Unscripted & Variety 'All throughout the season, I feel like we anticipated what the 50th was going to be. We didn't know. I called it an SNL wedding, [even though] birthday is obviously more fitting. It felt like we were having a wedding, and it was like we're building up to this wedding,' she said. 'We had these episodes leading up to the actual 50th celebration, but all the while just knowing, 'Okay, we're working toward this thing, and that is going to be such a huge moment.' You could just feel it in the air.' RELATED: Mikey Day, who was hired as a writer in 2013 before becoming a cast member in 2016, said he first noticed Season 50 was going to be different with a new logo and opening titles, which was a 'constant reminder.' 'From the beginning, it was kind of this thing, kind of hanging over the show, like we have this big show in February,' he added. Day helped kick off the 50th special, playing an ICE agent, alongside Devon Walker, that escorted Martin Short off the stage as he cameoed on Steve Martin's opening monologue. The special featured a number of classic sketches including The Lawrence Welk Show, Black Jeopardy!, Close Encounters, a musical sketch from John Mulaney, Debbie Downer and Scared Straight, alongside regular programming such as Weekend Update and some pre-taped sketches. Stars included Tom Hanks, Pedro Pascal, Ryan Reynolds, Keith Richards, Robert De Niro, Jason Momoa and Meryl Streep alongside former cast members such as Tina Fey, Amy Poehler, Eddie Murphy, Garrett Morris, Kristen Wiig, Will Ferrell and Laraine Newman as well as the current cast. Producer and costume designer Tom Broecker joked that he attended around 8,000 meetings from the summer onwards regarding SNL50. 'There were times when I had to remind myself and even tell other people, 'Look, take the moment in. It's never going to happen again. I don't want to be dramatic about it but this is something that will never happen again in the history of television',' he said. Saturday Night Live, which sees its 50th season run through May, won six consecutive Emmys in the Outstanding Variety Sketch Series category between 2017-2022. However, the category was reshaped by the TV Academy in 2023, when it began competing to, and losing out to, Last Week Tonight with John Oliver. Over the past 50 years, SNL has recorded 331 Emmy nominations and 90 wins. Check back Monday for the panel video. Best of Deadline Everything We Know About The 'Hunger Games: Sunrise On The Reaping' Movie So Far Everything We Know About Netflix's 'The Thursday Murder Club' So Far TV Show Book Adaptations Arriving In 2025 So Far
