Innholdsfortegnelse for Emmy Special Issue 19B May 2019 i The Hollywood Reporter

In August, television’s I Big Four broadcast networks struck a deal with the TV Academy to continue to exclusively air the Emmys in rotation for another eight years, just as they have done since 1995. This was baffling to me, since I see it as tantamount to ABC, CBS, NBC and Fox airing their own funeral, or at least promoting their competition, as with each passing year there are fewer network shows among the awards nominees. A network drama hasn’t won since 24 did in 2006, and these days, the only one that even has a chance of being nominated is NBC’s This Is Us, which became the first in six years to earn a nom in 2017. (It did so again in 2018.) As for network comedies? The situation…

Kevin Costner Yellowstone (Paramount Network) “The hardest thing is when you have a character that is so blind to the world because his family is the only thing that’s important. In truth, family is the only thing that’s important. But when the morality is such that only my family matters, that’s been a hard thing for me to grasp. Because I know what loyalty to family is all about, but we’re a melodrama — we’re into murder, we’re into all kinds of things like that. Only the ranch matters, the family matters, and nothing else matters except that. That’s not emblematic of how I live.” Brian Cox Succession (HBO) “I did actually say to [series creator] Jesse Armstrong, ‘Does he love his children?’ and Jesse said, ‘He absolutely loves his…

“Gene Wilder was a big deal for me growing up. He’s a guy who was just hilarious in everything that he did comedically, but he never seemed to be doing a comedy. He was always playing his characters that were vulnerable or human or broken enough that the humor would come from these car crashes of dignity.”JASON BATEMAN “Working opposite Bryan Cranston [on Breaking Bad] was a gift: the ease that he exhibited with losing himself in a character, the sense of surrendering your own sense of your own world and your own self to a character’s world was a wonderful energy to be around and to try to emulate.”BOB ODENKIRK “What you do is you find that you have certain things in common with people that you did admire.…

“Paul F. Tompkins and his Instagram, @pftompkins. And any text from Tim Heidecker [writer-director-actor and half of comedy duo Tim & Eric]. He always makes me laugh.”EUGENE LEVY “I Think You Should Leave With Tim Robinson. The first time I saw it, it was on a plane and I was crying laughing. Which is a real weird thing to do on a plane.”DREW TARVER “Just add me to the list of people saying I Think You Should Leave With Tim Robinson. My wife and I laugh so hard at that show.”ROB DELANEY “The Read podcast. It is basically two hosts [Crissle West, Kid Fury] talking to each other and catching up on pop culture. It educates me on stuff. They’re incredibly funny people who are a joy to listen to.”DANIEL…

Longtime character and voice actor Stephen Root is probably best known for playing sad sack Milton in 1999 cult classic Office Space and voicing sad sack Bill Dauterive (among others) on Fox animated series King of the Hill, but over his 40-year career, his face or voice has appeared in nearly 800 TV episodes and 100 films. He’s played billionaire station boss Jimmy James on mid-’90s NBC sitcom NewsRadio; a slew of memorable eccentrics for the Coen brothers; an evil, blind art gallery owner in Get Out; and, most recently, a hitman handler on HBO’s critically beloved dark comedy Barry. While his characters have varied, there’s been one consistency throughout: Root steals every scene he’s in. On Barry, which wrapped its second season May 19, Root plays Monroe Fuches, the…

John Singleton may have been an unorthodox choice to have at The Hollywood Reporter’s annual Drama Showrunner Roundtable, as he isn’t technically running his FX co-creation, Snowfall. But rather than shy away from a discussion about his craft, the pioneering storyteller — who at 24 became the first black director to be nominated for an Academy Award, for Boyz n the Hood — offered a master class of sorts on the importance of sticking to your vision, particularly when it’s your own story that’s being told. “It was a dicey thing for a guy like me to go to film school and say, ‘I’m going to be a filmmaker,’ ” he said. “But I knew I wasn’t going to be able to rely on someone else to tell the stories…

On Nov. 14, the Occidental Studios soundstage in Los Angeles’ Echo Park has been transformed into a 1980s wedding reception, replete with big hair, sparkly accessories and a fluffy wedding dress — and yes, it has shoulder pads. Of course, the wedding at the center of the ninth episode of Showtime’s comedy Black Monday — which follows the events that led to Oct. 19, 1987, the day of the single greatest percentage drop in U.S. stock market history — isn’t an ordinary one. It takes place on the trading room floor, the hub of the show’s drama. Jordan Cahan and David Caspe’s series centers on Wall Street mastermind Mo Monroe (Don Cheadle), the director of trading firm The Jammer Group who attempts to take control of the Georgina Jeans Co.…

Morris Chestnut The Enemy Within (NBC) “Jennifer Carpenter’s and my character are both professionally very good about what we do, and we put our work above our personal lives. But we’re still having to deal with that while we’re dealing with this deep emotional turmoil that’s very conflicted. There are a couple of incidents that I filled in to his childhood that affected him right about the time he was about to go to college — that’s what I did to make the character very personal and close to me. I’m the type of person that goes into a room and I do a lot more listening than I do talking. And I find that to be more interesting, because you learn a lot about people, you learn a lot…

Fred Armisen Oscar Hoffman  Forever (Amazon) In the first season, Oscar and wife June (Maya Rudolph) are living a decent but drab life together until he dies in a skiing accident. Not long after that, she chokes to death and the couple is not-so-happily reunited in a tedious version of the hereafter, where their relationship is tested in new and unusual ways. WHAT SCENE GAVE YOU THE MOST UNEXPECTED LAUGH? There’s a scene where I repeatedly serve Maya’s character a fish fillet. It’s repeated over and over, like it’s been happening the same way for years. Any amount of time spent in the presence of Maya makes everything funnier. WHAT FUNNY PART OF YOUR PERSONALITY DO YOU INFUSE INTO YOUR CHARACTER? I don’t know if I’d consider it a funny…

ANTHONY CARRIGAN Barry (HBO) Carrigan’s exuberant NoHo Hank often provides comic relief on the dark show. ANDREW RANNELLS Black Monday (Showtime) The two-time Tony nominee steps into the shoes of a Gordon Gekko-type trader. TONY SHALHOUB The Marvelous Mrs. Maisel (Amazon) The three-time lead actor winner (for Monk) steals scenes as Midge’s dad. KENAN THOMPSON Saturday Night Live (NBC) Thompson is SNL’s longest-running cast-member and was nominated in 2018. MATT WALSH Veep (HBO) The two-time nominee’s Mike McLintock is a BuzzFeed reporter in the final season.…

Jeffrey Wright is using his art to tackle trauma and systemic injustice. As inmate Louis on the HBO cinema verite prison film O.G. and a producer on the veteran-centric documentary short We Are Not Done Yet, the acclaimed actor sheds a light on individuals often overlooked by society and finds the humanity behind the politics driving the American prison and military systems. Wright, 53, spoke with THR about shooting O.G., which was filmed almost entirely at Indiana’s Pendleton Correctional Facility. O.G. presents an empathetic portrait of inmates and prison life. What do you hope viewers take away from the film? In some ways, “empathetic” is a tricky word relative to a story like this. Certainly, that’s at the core of what we have to do when we take on stories…