[Editor’s note: This list was originally published in 2017. It has since been updated many times.]
With everything going the way it is in the world right now, we’re laughing to keep less cheery emotions at bay. At least this bizarre, still-very-much-in-progress century has already produced a slew of spectacular, silly, snarky, and cynical comedies: ready to fire up whenever you need a serotonin burst or distraction thanks to the ever-growing cadre of streaming services.
The pandemic may be in the rearview for the U.S. federal government, but the specter of war, a tortured economy, and human rights issues across the globe have occupied the minds of many instead. So, in desperate need of some humor, we thought it was more important than ever to give our Greatest Comedies of the 21st Century list, originally published in 2017, yet another rethink. Since the list was originally published, we’ve expanded it to 90 entries, including titles released since then that deserved including and other titles we somehow overlooked the first time.
With everything going the way it is in the world right now, we’re laughing to keep less cheery emotions at bay. At least this bizarre, still-very-much-in-progress century has already produced a slew of spectacular, silly, snarky, and cynical comedies: ready to fire up whenever you need a serotonin burst or distraction thanks to the ever-growing cadre of streaming services.
The pandemic may be in the rearview for the U.S. federal government, but the specter of war, a tortured economy, and human rights issues across the globe have occupied the minds of many instead. So, in desperate need of some humor, we thought it was more important than ever to give our Greatest Comedies of the 21st Century list, originally published in 2017, yet another rethink. Since the list was originally published, we’ve expanded it to 90 entries, including titles released since then that deserved including and other titles we somehow overlooked the first time.
- 3/26/2024
- by Wilson Chapman
- Indiewire
When you’re putting together a list of the biggest taboos in Western culture, death itself might not make the cut. But it should: North Americans and Europeans are chronically averse to facing death. Too many of us quietly believe if we follow the right workout regimen, eat enough kale, and take the right expensive supplements we may just live forever. It’s a predictable belief for our youth-obsessed culture. So the intrigue of zombie movies is that this genre forces us to confront death face-to-face. Or rather, death confronts us, looking to scoop out our brains and have us join its ranks.
Sometimes, zombies can bear larger metaphors on their disintegrating shoulders — for our increasingly wired yet increasingly isolated post-internet world, say, as in “Shaun of the Dead.” But sometimes zombies are just zombies: walking corpses who shuffle around and remind us that, even if we’re never somehow reanimated,...
Sometimes, zombies can bear larger metaphors on their disintegrating shoulders — for our increasingly wired yet increasingly isolated post-internet world, say, as in “Shaun of the Dead.” But sometimes zombies are just zombies: walking corpses who shuffle around and remind us that, even if we’re never somehow reanimated,...
- 8/24/2023
- by Alison Foreman
- Indiewire
The media was not quick to embrace Black creatives nor has Juneteenth long been something on its radar. But as different voices enter the culturally and politically shifting landscape, the newly recognized federal holiday — which honors the emancipation of the last enslaved people here in the United States on June 19 — could, or at the very least should, pop up more on screens large and small.
Channing Godfrey Peoples made her directorial debut against the backdrop of Black Lives Matter protests in the summer of 2020 with “Miss Juneteenth“: a feature film starring Nicole Beharie and Alexis Chikaeze as a mother-daughter pair navigating their opposing dreams for the young girl’s future. Before that, “Juneteenth” was the title of Season 1, Episode 9 in Donald Glover’s beloved “Atlanta”: a boundary-breaking FX dramedy about Blackness and celebrity with a surrealist twist.
From tentpoles that changed the box-office game (see “Get Out” and...
Channing Godfrey Peoples made her directorial debut against the backdrop of Black Lives Matter protests in the summer of 2020 with “Miss Juneteenth“: a feature film starring Nicole Beharie and Alexis Chikaeze as a mother-daughter pair navigating their opposing dreams for the young girl’s future. Before that, “Juneteenth” was the title of Season 1, Episode 9 in Donald Glover’s beloved “Atlanta”: a boundary-breaking FX dramedy about Blackness and celebrity with a surrealist twist.
From tentpoles that changed the box-office game (see “Get Out” and...
- 6/18/2023
- by Tambay Obenson and Alison Foreman
- Indiewire
With everything going the way it is in the world right now, we’re laughing to keep less cheery emotions at bay. At least this bizarre, still-very-much-in-progress century has already produced any number of great comedies that you can fire up any time you need a serotonin burst, thanks to the ever-growing cadre of streaming services. The pandemic may be starting to recede but the specter of war and a tortured economy have occupied our minds instead: so, in desperate need of some humor, we thought it was more important than ever to give our Greatest Comedies of the 21st Century list, originally published in 2017 (and last updated in August 2021), a rethink.
We’ve added 25 new films to the Top 50 list we unveiled in August. At that time, we dropped a number of titles from the original list that are funny, but not necessarily comedies. And we’ve added some...
We’ve added 25 new films to the Top 50 list we unveiled in August. At that time, we dropped a number of titles from the original list that are funny, but not necessarily comedies. And we’ve added some...
- 11/13/2022
- by Samantha Bergeson, Christian Zilko and Alison Foreman
- Indiewire
IndieWire received the Los Angeles Press Club’s Southern California Journalism Award for best news website exclusive to the internet at a gala ceremony held October 16.
In their comments, judges said “IndieWire.com is creative, well-curated, and popping with photos and subtle splashes of color.”
IndieWire also received the prize for Obituary/In Appreciation — Film/TV Personalities, which went to Managing Editor Christian Blauvelt for his remembrance of Sean Connery, who died in October 2020. The judges, in their comments, called the obituary a “well-researched, enticing story of mythical leading man Sean Connery’s life with his flaws and triumphs.”
Finally, Chris O’ Falt, Leonardo Adrian Garcia, Kristen Lopez, Steve Greene, and Bill Desowitz shared the third-place prize for Multimedia Package for their IndieWire Influencers TV series.
The 63rd annual Southern California Journalism Awards were held at the Crystal Ballroom at the Millennium Biltmore Hotel, where guests were required to provide proof of Covid vaccination.
In their comments, judges said “IndieWire.com is creative, well-curated, and popping with photos and subtle splashes of color.”
IndieWire also received the prize for Obituary/In Appreciation — Film/TV Personalities, which went to Managing Editor Christian Blauvelt for his remembrance of Sean Connery, who died in October 2020. The judges, in their comments, called the obituary a “well-researched, enticing story of mythical leading man Sean Connery’s life with his flaws and triumphs.”
Finally, Chris O’ Falt, Leonardo Adrian Garcia, Kristen Lopez, Steve Greene, and Bill Desowitz shared the third-place prize for Multimedia Package for their IndieWire Influencers TV series.
The 63rd annual Southern California Journalism Awards were held at the Crystal Ballroom at the Millennium Biltmore Hotel, where guests were required to provide proof of Covid vaccination.
- 10/17/2021
- by IndieWire Staff
- Indiewire
After a very weird awards season that mostly took place in virtual form, the industry is eager to get back to campaigning with some semblance of normalcy. So it should come as no surprise that on the first days of the Venice and Telluride Film Festivals, several Oscar contenders made their presence known, and fast. From the Peter Dinklage musical “Cyrano” to Will Smith in “King Richard” and Kristen Stewart in “Spencer” — not to mention a whole lot of documentaries — many movies that were question marks just a few days ago have planted their flags in conversations that will evolve for months to come. Others have reentered the fray, like Sundance winner “Flee” and Sean Baker’s “Red Rocket.”
In this week’s episode of Screen Talk, Eric Kohn and Anne Thompson sit down at the Telluride Hotel to discuss the rush of activity they’ve experienced at the start...
In this week’s episode of Screen Talk, Eric Kohn and Anne Thompson sit down at the Telluride Hotel to discuss the rush of activity they’ve experienced at the start...
- 9/4/2021
- by Eric Kohn and Anne Thompson
- Indiewire
As the summer comes to a close, the future of moviegoing (and crowded gatherings in general) remains an open question. This week, with Screen Talk co-host Eric Kohn on vacation, I grilled IndieWire’s Box Office Editor Tom Brueggemann on the new metrics that determine success in a streaming universe. Tom and I dig into how to measure a film’s performance, as streamers routinely block grosses and hide their numbers.
And as the annual exhibitor convention CinemaCon convenes in Las Vegas next week, we debate the theatrical future. Theaters may be reducing costs via revised rents and fewer shows, but they are also looking to alternatives to movies.
More films are showing in theaters, including Sundance breakout and Oscar hopeful “Coda,” also streaming on AppleTV+ last weekend. But just how did the movie open? Not with as much buzz as Bong Joon Ho’s “Parasite,” which built a lot...
And as the annual exhibitor convention CinemaCon convenes in Las Vegas next week, we debate the theatrical future. Theaters may be reducing costs via revised rents and fewer shows, but they are also looking to alternatives to movies.
More films are showing in theaters, including Sundance breakout and Oscar hopeful “Coda,” also streaming on AppleTV+ last weekend. But just how did the movie open? Not with as much buzz as Bong Joon Ho’s “Parasite,” which built a lot...
- 8/20/2021
- by Anne Thompson
- Thompson on Hollywood
As the summer comes to a close, the future of moviegoing (and crowded gatherings in general) remains an open question. This week, with Screen Talk co-host Eric Kohn on vacation, I grilled IndieWire’s Box Office Editor Tom Brueggemann on the new metrics that determine success in a streaming universe. Tom and I dig into how to measure a film’s performance, as streamers routinely block grosses and hide their numbers.
And as the annual exhibitor convention CinemaCon convenes in Las Vegas next week, we debate the theatrical future. Theaters may be reducing costs via revised rents and fewer shows, but they are also looking to alternatives to movies.
More films are showing in theaters, including Sundance breakout and Oscar hopeful “Coda,” also streaming on AppleTV+ last weekend. But just how did the movie open? Not with as much buzz as Bong Joon Ho’s “Parasite,” which built a lot...
And as the annual exhibitor convention CinemaCon convenes in Las Vegas next week, we debate the theatrical future. Theaters may be reducing costs via revised rents and fewer shows, but they are also looking to alternatives to movies.
More films are showing in theaters, including Sundance breakout and Oscar hopeful “Coda,” also streaming on AppleTV+ last weekend. But just how did the movie open? Not with as much buzz as Bong Joon Ho’s “Parasite,” which built a lot...
- 8/20/2021
- by Anne Thompson
- Indiewire
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Still theorizing about every little thing you saw in “WandaVision” potentially being an Easter Egg? Same. The Emmy-nominated series has wrapped up, but there are definitely episodes that still have some fans puzzled, and the great thing about streaming is that you can always go back and re-watch episodes.
The first Marvel series for Disney+ follows Elizabeth Olsen’s Wanda Maximoff (aka Scarlet Witch) and Paul Bettany’s Vision (aka the humanoid super-computer who seemingly died in “Avengers: Infinity War”) living in wedded, suburban sitcom bliss through the decades. And while aficionados know all about the characters’ comic book pasts, casual Marvel Cinematic Universe viewers might not.
If you’re not already signed...
Still theorizing about every little thing you saw in “WandaVision” potentially being an Easter Egg? Same. The Emmy-nominated series has wrapped up, but there are definitely episodes that still have some fans puzzled, and the great thing about streaming is that you can always go back and re-watch episodes.
The first Marvel series for Disney+ follows Elizabeth Olsen’s Wanda Maximoff (aka Scarlet Witch) and Paul Bettany’s Vision (aka the humanoid super-computer who seemingly died in “Avengers: Infinity War”) living in wedded, suburban sitcom bliss through the decades. And while aficionados know all about the characters’ comic book pasts, casual Marvel Cinematic Universe viewers might not.
If you’re not already signed...
- 8/19/2021
- by Jean Bentley and Leonardo Adrian Garcia
- Indiewire
The annual Southern California Journalism Awards have recognized IndieWire’s overall website, plus film features, television criticism, and multimedia, with six nominations. Each year, the Los Angeles Press Club presents its annual awards to “support, promote, and defend quality journalism in Southern California.” Nominations include news feature, obituary, television criticism, and multimedia. IndieWire is also nominated in the “website, news organization exclusive to the internet” category, which recognizes the entire staff.
Deputy editor TV and TV critic Ben Travers was nominated in the Criticism of TV category, with his reviews of “Ted Lasso,” “City So Real,” and “Ratched” earning particular attention. Also on the TV side, deputy editor Film and TV Craft Chris O’Falt, creative producer Leonardo Adrian Garcia, TV editor Kristen Lopez, associate editor TV Steve Greene, and craft and animation editor Bill Desowitz were nominated for best Multimedia Package for their work on “IndieWire Influencers: TV.”
Executive editor...
Deputy editor TV and TV critic Ben Travers was nominated in the Criticism of TV category, with his reviews of “Ted Lasso,” “City So Real,” and “Ratched” earning particular attention. Also on the TV side, deputy editor Film and TV Craft Chris O’Falt, creative producer Leonardo Adrian Garcia, TV editor Kristen Lopez, associate editor TV Steve Greene, and craft and animation editor Bill Desowitz were nominated for best Multimedia Package for their work on “IndieWire Influencers: TV.”
Executive editor...
- 8/11/2021
- by Kate Erbland
- Indiewire
A few weeks ago, it was hard to believe that the Cannes Film Festival would actually happen. Now, as the 74th edition winds down, it’s still hard to believe what transpired over the past two weeks: a whole lot of movies, many of which will continue to make some noise in the year ahead. In a return to form, this year’s Cannes delivered a wide range of cinematic experiences, from studio projects like “The French Dispatch” and Matt Damon in “Stillwater” to provocations from Julia Ducournau (“Titane”) and Leos Carax (“Annette”). Reliable auteurs like Asghar Farhadi (“A Hero”) and Sean Baker (“Red Rocket”) delivered some of their best work, while Paul Verhoeven stirred up the conversation per usual with “Benedetta.”
And there was a whole lot more than that. In this week’s episode of Screen Talk, Eric Kohn and Anne Thompson unpack this year’s Cannes experience...
And there was a whole lot more than that. In this week’s episode of Screen Talk, Eric Kohn and Anne Thompson unpack this year’s Cannes experience...
- 7/17/2021
- by Eric Kohn and Anne Thompson
- Indiewire
A few weeks ago, many regular attendees of the Cannes Film Festival weren’t sure if they would make the trip. For some, it was hard to believe that the crowded and ever-chaotic media event could happen at all in these pandemic times. But here we are, heading into the first weekend of Cannes 2021, and it turns out that there’s plenty to write home about.
In this week’s episode of Screen Talk, fresh from a posh dinner at the festival, Eric Kohn and Anne Thompson sit down at their Cannes apartment to discuss their experiences on the ground. They debate a few of the higher-profile entries so far, including documentaries on Val Kilmer and the Velvet Underground as well as “Cow,” the experimental effort from Andrea Arnold. They also touch on the relative quietness of the market, why it doesn’t seem to be getting in the way...
In this week’s episode of Screen Talk, fresh from a posh dinner at the festival, Eric Kohn and Anne Thompson sit down at their Cannes apartment to discuss their experiences on the ground. They debate a few of the higher-profile entries so far, including documentaries on Val Kilmer and the Velvet Underground as well as “Cow,” the experimental effort from Andrea Arnold. They also touch on the relative quietness of the market, why it doesn’t seem to be getting in the way...
- 7/9/2021
- by Eric Kohn and Anne Thompson
- Indiewire
A year ago, the future of moviegoing — and crowded gatherings in general — was a big open question. That remains the case today, but the climate has certainly shifted, as movies are returning to theaters and actual live film festival experiences have crept back into existence. And so has the opportunity for IndieWire’s Screen Talk podcast to hold live editions. This week, hosts Eric Kohn and Anne Thompson gathered in front of an audience on the rooftop of Spring Studios in downtown Manhattan for a special recording of this week’s episode as part of the 2021 Tribeca Festival. The episode gave them a chance to catch up on some stories surrounding new releases, from the box office troubles of “In the Heights” to the lack of theatrical presence for Pixar’s “Luca.” They also discussed the importance of film festivals for smaller films and fielded questions from the audience.
Listen to the full episode below.
Listen to the full episode below.
- 6/19/2021
- by Eric Kohn and Anne Thompson
- Indiewire
The video above was produced by IndieWire’s Creative Producer Leonardo Adrian Garcia.
Over the past year or so, Seth Meyers has taken NBC’s “Late Night” on some type of agoraphobic road show. Driven from NBC Studio 8G by the global pandemic that forced the entire world to huddle, isolated in their homes, Meyers and the crew at “Late Night,” like so many late-night talk shows, endeavored to keep on keeping on, come hell or no haircuts.
And so the show went on. At the start, “Late Night” went on a sort of walkabout in Meyers’ home, recording in a hallway, a garage, his in-laws’ basement, and his attic. If nothing else, they captured the clawing-the-walls cabin fever that afflicted so many people while sheltering-in-place.
Now, Meyers and friends are back in the studio after their long, strange, largely stationary trip, but “Late Night” without its studio audience is...
Over the past year or so, Seth Meyers has taken NBC’s “Late Night” on some type of agoraphobic road show. Driven from NBC Studio 8G by the global pandemic that forced the entire world to huddle, isolated in their homes, Meyers and the crew at “Late Night,” like so many late-night talk shows, endeavored to keep on keeping on, come hell or no haircuts.
And so the show went on. At the start, “Late Night” went on a sort of walkabout in Meyers’ home, recording in a hallway, a garage, his in-laws’ basement, and his attic. If nothing else, they captured the clawing-the-walls cabin fever that afflicted so many people while sheltering-in-place.
Now, Meyers and friends are back in the studio after their long, strange, largely stationary trip, but “Late Night” without its studio audience is...
- 6/18/2021
- by Libby Hill
- Indiewire
Consider This: Conversations highlight television’s award-worthy productions through panel discussions with the artists themselves. The above video is in partnership by Hulu, produced by IndieWire’s Creative Producer Leonardo Adrian Garcia, and hosted by The Atlantic journalist Jemele Hill.
“Derek DelGaudio’s In & Of Itself” is impossible to neatly categorize. Part monologue, part magic show, part a journey for DelGaudio to discover — and simultaneously deconstruct — his own identity, the Hulu film is a wholly engrossing artistic experiment.
Such was also the case with the 500-plus live performances that culminated in DelGaudio’s film adaptation for Hulu, which premiered in January. DelGaudio noted that the film used scenes from his numerous stage shows and said that the ability to include multiple perspectives and versions of the same routine in the film made for a project that differentiated itself from the live performance while championing its most important elements.
“With...
“Derek DelGaudio’s In & Of Itself” is impossible to neatly categorize. Part monologue, part magic show, part a journey for DelGaudio to discover — and simultaneously deconstruct — his own identity, the Hulu film is a wholly engrossing artistic experiment.
Such was also the case with the 500-plus live performances that culminated in DelGaudio’s film adaptation for Hulu, which premiered in January. DelGaudio noted that the film used scenes from his numerous stage shows and said that the ability to include multiple perspectives and versions of the same routine in the film made for a project that differentiated itself from the live performance while championing its most important elements.
“With...
- 6/16/2021
- by Tyler Hersko
- Indiewire
Consider This: Conversations highlight television’s award-worthy productions through panel discussions with the artists themselves. The above video is in partnership by FX, produced by IndieWire’s Creative Producer Leonardo Adrian Garcia, and hosted by Elliott Smith.
For the first three seasons of the FX hit “Snowfall,” charismatic drug kingpin Franklin Saint (Damson Idris) seemed to have everything under control as he expanded his empire. But Season 4 of the drama found Franklin dealing with a level of chaos he’s never experienced, both from outside forces and within his inner circle, culminating in the ultimate betrayal.
A key element in this season was exploring the relationship between Franklin and his father Alton (Kevin Carroll), a former Black Panther who became estranged from his family only to take hesitant steps to reconnect with his son.
“This is a show that is very much about exploring consequences,” Showrunner Dave Andron said. “What...
For the first three seasons of the FX hit “Snowfall,” charismatic drug kingpin Franklin Saint (Damson Idris) seemed to have everything under control as he expanded his empire. But Season 4 of the drama found Franklin dealing with a level of chaos he’s never experienced, both from outside forces and within his inner circle, culminating in the ultimate betrayal.
A key element in this season was exploring the relationship between Franklin and his father Alton (Kevin Carroll), a former Black Panther who became estranged from his family only to take hesitant steps to reconnect with his son.
“This is a show that is very much about exploring consequences,” Showrunner Dave Andron said. “What...
- 6/15/2021
- by Elliott Smith
- Indiewire
Consider This: Conversations highlight television’s award-worthy productions through panel discussions with the artists themselves. The above video is in partnership with Amazon Prime Video, produced by IndieWire’s Creative Producer Leonardo Adrian Garcia, and hosted by film director Gina Prince-Bythewood.
Stage production is rarely a simple feat in the realm of television, especially when your project requires you to get real trains up and running underground. Such was the case with Barry Jenkins’ acclaimed “The Underground Railroad,” which features a literal interpretation of the real-world underground network of abolitionists that helped enslaved Black people flee to freedom in America in the 1800s.
“Barry and I were talking about it he said, ‘I don’t know much about how the story is going to go but I can tell you that we need real trains with real people and a real tunnel,'” series production designer Mark Friedberg said. “It was a tricky thing.
Stage production is rarely a simple feat in the realm of television, especially when your project requires you to get real trains up and running underground. Such was the case with Barry Jenkins’ acclaimed “The Underground Railroad,” which features a literal interpretation of the real-world underground network of abolitionists that helped enslaved Black people flee to freedom in America in the 1800s.
“Barry and I were talking about it he said, ‘I don’t know much about how the story is going to go but I can tell you that we need real trains with real people and a real tunnel,'” series production designer Mark Friedberg said. “It was a tricky thing.
- 6/14/2021
- by Tyler Hersko
- Indiewire
Consider This: Conversations highlight television’s award-worthy productions through panel discussions with the artists themselves. The above video is in partnership by Amazon Prime Video, produced by IndieWire’s Creative Producer Leonardo Adrian Garcia, and hosted by TV Editor Kristen Lopez.
The landscape of Amazon Prime Video’s series “Them” is filled with horror from the moment the Emory family moves into their new Compton residence. That fear and tension isn’t limited to the project’s storytelling. As the crafts team members behind the series lay out, they wanted to imbue history and tension into everything surrounding the Emorys and everything they wear.
Costume designer Mari-An Ceo says the many meticulous details in the series’ costuming at times veered into being spoilers themselves. In some cases, those details were tiny. For instance, the villainous Miss Vera’s collar looks like a book, which subtly connects her to little Gracie Jean...
The landscape of Amazon Prime Video’s series “Them” is filled with horror from the moment the Emory family moves into their new Compton residence. That fear and tension isn’t limited to the project’s storytelling. As the crafts team members behind the series lay out, they wanted to imbue history and tension into everything surrounding the Emorys and everything they wear.
Costume designer Mari-An Ceo says the many meticulous details in the series’ costuming at times veered into being spoilers themselves. In some cases, those details were tiny. For instance, the villainous Miss Vera’s collar looks like a book, which subtly connects her to little Gracie Jean...
- 6/11/2021
- by Kristen Lopez
- Indiewire
The video above was produced by IndieWire’s Creative Producer Leonardo Adrian Garcia.
There’s a horrible phenomenon that occurs from time to time, when a fan of a television comedy finds out that behind-the-scenes, all their favorite actors despise each other and the familial relationship they have on screen is merely a testament to the group’s collective acting talent.
With “Ted Lasso” being the Apple TV+ phenomenon that took the pandemic by storm, it seems only natural that people might be worried that all the feel-good hijinks and empathetic encounters are wholly fictional, revealing a disappointing reality underneath.
But good news, “Ted Lasso” fans. Juno Temple and Hannah Waddingham, who star in the series as Keeley Jones and Rebecca Welton, are happy to dispel any such concerns. And not only does the cast love each other, they really, really, really love the show itself.
“I think all of...
There’s a horrible phenomenon that occurs from time to time, when a fan of a television comedy finds out that behind-the-scenes, all their favorite actors despise each other and the familial relationship they have on screen is merely a testament to the group’s collective acting talent.
With “Ted Lasso” being the Apple TV+ phenomenon that took the pandemic by storm, it seems only natural that people might be worried that all the feel-good hijinks and empathetic encounters are wholly fictional, revealing a disappointing reality underneath.
But good news, “Ted Lasso” fans. Juno Temple and Hannah Waddingham, who star in the series as Keeley Jones and Rebecca Welton, are happy to dispel any such concerns. And not only does the cast love each other, they really, really, really love the show itself.
“I think all of...
- 6/10/2021
- by Libby Hill
- Indiewire
Consider This: Conversations highlight television’s award-worthy productions through panel discussions with the artists themselves. The above video is in partnership by FX, produced by IndieWire’s Creative Producer Leonardo Adrian Garcia, and hosted by TV Deputy Editor and Critic Ben Travers.
[Editor’s Note: The interviews above and article below contain spoilers for “Fargo” Season 4, Episode 9, “East/West.”]
If you thought Noah Hawley’s shows could be ambiguous, just imagine how his crew felt when the “Fargo” showrunner gave them a simple yet mysterious direction before shooting Season 4: “Follow the yellow brick road.”
“We didn’t really know what that meant back in prep,” said J.R. Hawbaker, the series’ costume designer. “We were like, ‘Ok, we’ve got the yellow brick road coming, we don’t really know where we’re going, but we’re going to follow Noah — he will get us there.'”
Sure enough, their trust was rewarded in Episode 9, “East/West,” a pivotal turning point for the...
[Editor’s Note: The interviews above and article below contain spoilers for “Fargo” Season 4, Episode 9, “East/West.”]
If you thought Noah Hawley’s shows could be ambiguous, just imagine how his crew felt when the “Fargo” showrunner gave them a simple yet mysterious direction before shooting Season 4: “Follow the yellow brick road.”
“We didn’t really know what that meant back in prep,” said J.R. Hawbaker, the series’ costume designer. “We were like, ‘Ok, we’ve got the yellow brick road coming, we don’t really know where we’re going, but we’re going to follow Noah — he will get us there.'”
Sure enough, their trust was rewarded in Episode 9, “East/West,” a pivotal turning point for the...
- 6/10/2021
- by Ben Travers
- Indiewire
Consider This: Conversations highlight television’s award-worthy productions through panel discussions with the artists themselves. The above video is in partnership with Amazon Prime Video, produced by IndieWire’s Creative Producer Leonardo Adrian Garcia, and hosted by TV Deputy Editor and Critic Ben Travers.
One of the innate challenges to making “The Boys” — Amazon Prime Video’s superhero satire — is making the impossible feel real.
“You try to find that grain of reality in everything, and that can be very hard to do,” VFX Supervisor Stephan Fleet said in a panel discussion with IndieWire. “You could have a sentence that’s like, ‘We want the Boys to crash into this whale, but it needs to look as real as possible’ — or, ‘We want this giant dick monster to wrap around Mother’s Milk’s neck, but it has to feel real.”
The combination of absurdity and authenticity is exactly what...
One of the innate challenges to making “The Boys” — Amazon Prime Video’s superhero satire — is making the impossible feel real.
“You try to find that grain of reality in everything, and that can be very hard to do,” VFX Supervisor Stephan Fleet said in a panel discussion with IndieWire. “You could have a sentence that’s like, ‘We want the Boys to crash into this whale, but it needs to look as real as possible’ — or, ‘We want this giant dick monster to wrap around Mother’s Milk’s neck, but it has to feel real.”
The combination of absurdity and authenticity is exactly what...
- 6/9/2021
- by Ben Travers
- Indiewire
Consider This: Conversations highlight television’s award-worthy productions through panel discussions with the artists themselves. The above video is in partnership by FX, produced by IndieWire’s Creative Producer Leonardo Adrian Garcia, and hosted by Libby Hill.
There’s something so seductive about second chances. Who among us hasn’t looked at a decision we’ve made or a path we’ve chosen and wondered what would have happened if we’d gone a different way? If we could go back and have a do over, knowing now what we could never have known then.
This is not necessarily what Hannah Fidell was thinking when making the FX on Hulu limited series “A Teacher,” an adaptation of her eponymous feature film released seven years earlier. But even though that wasn’t the intent, it was still the opportunity, and judging from the significant changes between the two works, the writer...
There’s something so seductive about second chances. Who among us hasn’t looked at a decision we’ve made or a path we’ve chosen and wondered what would have happened if we’d gone a different way? If we could go back and have a do over, knowing now what we could never have known then.
This is not necessarily what Hannah Fidell was thinking when making the FX on Hulu limited series “A Teacher,” an adaptation of her eponymous feature film released seven years earlier. But even though that wasn’t the intent, it was still the opportunity, and judging from the significant changes between the two works, the writer...
- 6/7/2021
- by Libby Hill
- Indiewire
The video above was produced by IndieWire’s Creative Producer Leonardo Adrian Garcia. The conversation below relates to PBS docuseries “Philly D.A.,” an eight-part look inside the district attorney’s office of Philadelphia and the challenges faced by Larry Krasner, a longtime progressive defense attorney elected as the city’s prosecutor. Helmed by Ted Passon, Yoni Brook, and Nicole Salazar the docuseries is available to stream in full via the PBS app and website.
Libby Hill, TV Awards Editor: Ben, I have to be honest with you. It’s not often that you completely blindside me, recommending a series that wasn’t on my radar whatsoever. And yet, here we have “Philly D.A.” Are you just pulling my leg? Are you sure this show actually exists?
Ben Travers, TV Critic: Libby, not only am I sure “Philly D.A.” exists, but I’m relatively sure it’s the best documentary series...
Libby Hill, TV Awards Editor: Ben, I have to be honest with you. It’s not often that you completely blindside me, recommending a series that wasn’t on my radar whatsoever. And yet, here we have “Philly D.A.” Are you just pulling my leg? Are you sure this show actually exists?
Ben Travers, TV Critic: Libby, not only am I sure “Philly D.A.” exists, but I’m relatively sure it’s the best documentary series...
- 6/4/2021
- by Libby Hill
- Indiewire
Editor’s Note: This project is presented by Amazon Prime Video, and the above video is produced by IndieWire’s Creative Producer Leonardo Adrian Garcia.
Steve McQueen has launched movies at Cannes, Venice, and Telluride. He’s received rapturous reviews calling him “masterful” and declaring his work Oscar-bound. But no premiere compared to his anthology series, “Small Axe,” when it hit the BBC and Amazon Prime Video late last year.
“It’s been tremendous. In fact, it’s quite overwhelming and quite emotional, really,” McQueen said. “I never had a debut like this ever.”
As part of their rollout, the director and co-writer of all five films said he was very fortunate, at a time when many festivals were being canceled, to see “Mangrove,” “Lovers Rock,” and “Red, White, and Blue” premiere at the New York Film Festival.
“I was very happy that our film could give that much joy to people,...
Steve McQueen has launched movies at Cannes, Venice, and Telluride. He’s received rapturous reviews calling him “masterful” and declaring his work Oscar-bound. But no premiere compared to his anthology series, “Small Axe,” when it hit the BBC and Amazon Prime Video late last year.
“It’s been tremendous. In fact, it’s quite overwhelming and quite emotional, really,” McQueen said. “I never had a debut like this ever.”
As part of their rollout, the director and co-writer of all five films said he was very fortunate, at a time when many festivals were being canceled, to see “Mangrove,” “Lovers Rock,” and “Red, White, and Blue” premiere at the New York Film Festival.
“I was very happy that our film could give that much joy to people,...
- 6/3/2021
- by Ben Travers
- Indiewire
The video above was produced by IndieWire’s Creative Producer Leonardo Adrian Garcia.
[Editor’s note: This article contains major spoilers for “Master of None” Season 3.]
If Peak TV has taught us anything, it’s impossible to have too much of a good thing. That’s why “Who Wants To Be a Millionaire” still airs five nights a week in primetime and all of NBC’s Thursday night sitcoms are super-sized. Ok, so neither of those things are true, but that hasn’t stopped the TV industry from looking into other ways of sating a fanbase’s every desire.
That, of course, is part of the reason why studios continue to be obsessed with creating and recreating shows based on existing intellectual property. If you liked “The Fresh Prince of Bel Air,” surely you’ll enjoy that same show, but different.
But something we haven’t examined as much — see also: griped about — are continuations of existing series that,...
[Editor’s note: This article contains major spoilers for “Master of None” Season 3.]
If Peak TV has taught us anything, it’s impossible to have too much of a good thing. That’s why “Who Wants To Be a Millionaire” still airs five nights a week in primetime and all of NBC’s Thursday night sitcoms are super-sized. Ok, so neither of those things are true, but that hasn’t stopped the TV industry from looking into other ways of sating a fanbase’s every desire.
That, of course, is part of the reason why studios continue to be obsessed with creating and recreating shows based on existing intellectual property. If you liked “The Fresh Prince of Bel Air,” surely you’ll enjoy that same show, but different.
But something we haven’t examined as much — see also: griped about — are continuations of existing series that,...
- 5/28/2021
- by Libby Hill
- Indiewire
The video above was produced by IndieWire’s Creative Producer Leonardo Adrian Garcia.
It’s near impossible to interview Amber Ruffin.
Those familiar with her work know that even when addressing the most serious of topics, Ruffin has a natural ebullience that’s impossible not to be drawn into, which makes it all the more hilarious whenever she delivers a devastating punchline. In an interview setting, the best a person can do is give themselves over to the comedian’s enthusiasm and let her delight carry the moment wherever it wants to go.
The “Late Night with Seth Meyers” writer has every reason to be excited, having launched her very own late-night series, “The Amber Ruffin Show,” in September 2020 on Peacock and February 2021 on NBC. The eponymous series is just the latest feather in Ruffin’s hat, who became the first black woman to write for a late-night talk show...
It’s near impossible to interview Amber Ruffin.
Those familiar with her work know that even when addressing the most serious of topics, Ruffin has a natural ebullience that’s impossible not to be drawn into, which makes it all the more hilarious whenever she delivers a devastating punchline. In an interview setting, the best a person can do is give themselves over to the comedian’s enthusiasm and let her delight carry the moment wherever it wants to go.
The “Late Night with Seth Meyers” writer has every reason to be excited, having launched her very own late-night series, “The Amber Ruffin Show,” in September 2020 on Peacock and February 2021 on NBC. The eponymous series is just the latest feather in Ruffin’s hat, who became the first black woman to write for a late-night talk show...
- 5/21/2021
- by Libby Hill
- Indiewire
The video above was produced by IndieWire’s Creative Producer Leonardo Adrian Garcia.
I’m starting to worry about Hulu’s classic “The Handmaid’s Tale.”
The series returned with its fourth season on April 28, seeing June Osborne (an always impeccable Elisabeth Moss) embrace her role as a revolutionary and become even more of a thorn in Gilead’s side — so much so that it raises the eternal question: How is June still alive? Are you kidding me? How?!
Now, in all fairness, I don’t remember people asking this question about Jack Bauer during the 200-some episodes of “24” that he survived with aplomb. But the difference is that one of those characters was a hyper-trained, militaristic, counter-terrorist agent working with unlimited weaponry and the finest technology money can buy, and the other is an unarmed individual not allowed buttons, much less a cell phone.
The best answer that producers...
I’m starting to worry about Hulu’s classic “The Handmaid’s Tale.”
The series returned with its fourth season on April 28, seeing June Osborne (an always impeccable Elisabeth Moss) embrace her role as a revolutionary and become even more of a thorn in Gilead’s side — so much so that it raises the eternal question: How is June still alive? Are you kidding me? How?!
Now, in all fairness, I don’t remember people asking this question about Jack Bauer during the 200-some episodes of “24” that he survived with aplomb. But the difference is that one of those characters was a hyper-trained, militaristic, counter-terrorist agent working with unlimited weaponry and the finest technology money can buy, and the other is an unarmed individual not allowed buttons, much less a cell phone.
The best answer that producers...
- 5/7/2021
- by Libby Hill
- Indiewire
The video above was produced by IndieWire’s Creative Producer Leonardo Adrian Garcia.
Making good TV is hard.
This isn’t (or shouldn’t be) some mind-blowing revelation, but it’s a truth that appears to be taken for granted more and more these days.
Take Marvel’s two major players in the streaming game this year: “WandaVision” and “The Falcon and the Winter Soldier.” The latter released its sixth and final episode last Friday to a lackluster response that left many fans channeling Peggy Lee and wondering, “Is that all there is?”
Part of the problem that Marvel keeps running into is that it doesn’t seem to realize TV shows still need to go somewhere. Great television picks the viewer up in one location and transports them to another. It’s a trip that might be long or short, but it’s a journey and on the way,...
Making good TV is hard.
This isn’t (or shouldn’t be) some mind-blowing revelation, but it’s a truth that appears to be taken for granted more and more these days.
Take Marvel’s two major players in the streaming game this year: “WandaVision” and “The Falcon and the Winter Soldier.” The latter released its sixth and final episode last Friday to a lackluster response that left many fans channeling Peggy Lee and wondering, “Is that all there is?”
Part of the problem that Marvel keeps running into is that it doesn’t seem to realize TV shows still need to go somewhere. Great television picks the viewer up in one location and transports them to another. It’s a trip that might be long or short, but it’s a journey and on the way,...
- 4/30/2021
- by Libby Hill
- Indiewire
It’s been too long — years, in fact, since audiences saw June Osbourne (Elisabeth Moss) as she fought to free the women of Gilead. The fourth season drops on Hulu April 28, and it’s time to catch up.
When last we were in Gilead, audiences saw a bloodied but not broken June suffering from a gunshot wound after successfully secreting more than 50 of the restrictive republic’s children onto a plane for transport to safety in Canada. Carried to safety by her fellow handmaids, June recites Exodus 3: 7-8 to herself, which speaks of the Lord seeing the suffering of his people and delivering them to a land of milk and honey.
This upcoming fourth season will return the series to a leaner and tighter narrative, with just 10 episodes, three of which will be available to stream at launch and the others coming weekly. Watch the video below for more...
When last we were in Gilead, audiences saw a bloodied but not broken June suffering from a gunshot wound after successfully secreting more than 50 of the restrictive republic’s children onto a plane for transport to safety in Canada. Carried to safety by her fellow handmaids, June recites Exodus 3: 7-8 to herself, which speaks of the Lord seeing the suffering of his people and delivering them to a land of milk and honey.
This upcoming fourth season will return the series to a leaner and tighter narrative, with just 10 episodes, three of which will be available to stream at launch and the others coming weekly. Watch the video below for more...
- 4/27/2021
- by Kristen Lopez
- Indiewire
The video above was produced by IndieWire’s Creative Producer Leonardo Adrian Garcia.
It’s strange to realize, given that it’s late April and we’ve yet to witness this year’s Academy Awards ceremony, but Emmy season is already upon us and, perhaps more fascinating is the fact that networks and streamers are already making bold moves to better position themselves in the weeks and months to come.
The most recent culprit is Disney+, which this week told IndieWire Deputy TV Editor Ben Travers that rather than follow in the footsteps of fellow Marvel series “WandaVision,” “The Falcon and the Winter Soldier” will be competing at this year’s Emmys as a Drama Series.
It’s news that sparked more questions than answers, as a six-episode show with no announced intent of a second season is obviously a limited series, right? Apparently not.
According to Marvel Studios VP...
It’s strange to realize, given that it’s late April and we’ve yet to witness this year’s Academy Awards ceremony, but Emmy season is already upon us and, perhaps more fascinating is the fact that networks and streamers are already making bold moves to better position themselves in the weeks and months to come.
The most recent culprit is Disney+, which this week told IndieWire Deputy TV Editor Ben Travers that rather than follow in the footsteps of fellow Marvel series “WandaVision,” “The Falcon and the Winter Soldier” will be competing at this year’s Emmys as a Drama Series.
It’s news that sparked more questions than answers, as a six-episode show with no announced intent of a second season is obviously a limited series, right? Apparently not.
According to Marvel Studios VP...
- 4/22/2021
- by Libby Hill
- Indiewire
The video above was produced by IndieWire’s Creative Producer Leonardo Adrian Garcia. The review below relates to HBO’s documentary film “Our Towns,” a portrait of America’s small cities and towns that chronicles the rise of civic and economic reinvention across six chosen communities. Based on the book “Our Towns: A 100,000-Mile Journey Into the Heart of America” by James and Deborah Fallows, the documentary is available now from HBO.
Ben Travers, TV Critic: Libby, small towns hold a dear place in my heart, as I know they do yours. We’re both from towns off the beaten path. We’ve both since moved to “the big city”. And we both are vexed whenever anyone makes a statement about small town life without first stating where they’re from and, if their town proves unfamiliar (as it should), providing the population.
Enter “Our Towns.” HBO’s documentary chronicles...
Ben Travers, TV Critic: Libby, small towns hold a dear place in my heart, as I know they do yours. We’re both from towns off the beaten path. We’ve both since moved to “the big city”. And we both are vexed whenever anyone makes a statement about small town life without first stating where they’re from and, if their town proves unfamiliar (as it should), providing the population.
Enter “Our Towns.” HBO’s documentary chronicles...
- 4/14/2021
- by Ben Travers and Libby Hill
- Indiewire
The new Amazon Prime Video series “Them” has a lot packed into its 10 episodes, but at its heart, according to creator Little Marvin, the show is about exploring the American dream. “I’ve been thinking a lot, like all of us have, about this country, where we’re going, and who has, historically speaking, got their keys to the dream and who have not,” he said during the series’ recent press event. “There’s nothing more emblematic of that [American] dream than home ownership.”
“Them” tells the story of the Emorys, a Black family in the 1950s who moves into the — at the time — all-white community of Compton, California. As they start to settle in, the family faces not only face rampant racism from their white neighbors, led by Betty Wendell (Alison Pill), but also a strange supernatural entity.
Little Marvin said the terror of navigating the country in Black skin,...
“Them” tells the story of the Emorys, a Black family in the 1950s who moves into the — at the time — all-white community of Compton, California. As they start to settle in, the family faces not only face rampant racism from their white neighbors, led by Betty Wendell (Alison Pill), but also a strange supernatural entity.
Little Marvin said the terror of navigating the country in Black skin,...
- 4/12/2021
- by Kristen Lopez
- Indiewire
When you read a lot of television writing, you start to realize that many critics have pet peeves or tropes that can make them a little dispirited about the medium as a whole. One such stumbling block is the reliance on in medias res in stories that don’t necessarily warrant them.
For the unfamiliar, in medias res is a latin term which translates to “in the middle of things.” On TV, utilization of the concept will often see an episode begin “in the middle of” an action-packed sequence, in which the audience has no idea what’s going on but are (theoretically) drawn-in enough to try and figure it out. At the conclusion of the scene, the show will many times insert a text card reading, “24 hours earlier” or some such cue, flashing back to tell its story in earnest, this time from the beginning.
The utilization of in...
For the unfamiliar, in medias res is a latin term which translates to “in the middle of things.” On TV, utilization of the concept will often see an episode begin “in the middle of” an action-packed sequence, in which the audience has no idea what’s going on but are (theoretically) drawn-in enough to try and figure it out. At the conclusion of the scene, the show will many times insert a text card reading, “24 hours earlier” or some such cue, flashing back to tell its story in earnest, this time from the beginning.
The utilization of in...
- 4/8/2021
- by Leonardo Adrian Garcia and Libby Hill
- Indiewire
There’s every chance that 2021 becomes the year of the couch blockbuster. Thanks to Warner Bros. choice to drop its major films on HBO Max simultaneously with their release in theaters, people now have the option to watch the monsters mash in “Godzilla vs. Kong,” not in an overpacked theater, but in the comfort and safety of their own living room.
Watching two larger-than-life characters destroy the better part of Hong Kong is a different experience at home than in full IMAX glory, but if nothing else, the nuances — or lack thereof — in the MonsterVerse gave us more insight into why not every film franchise is destined for a TV adaptation, as well as why the Marvel Cinematic Universe has a better shot at successful expansion than most.
In the case of “Godzilla vs. Kong,” it feels safe to assume that few people are excited to revisit this universe because...
Watching two larger-than-life characters destroy the better part of Hong Kong is a different experience at home than in full IMAX glory, but if nothing else, the nuances — or lack thereof — in the MonsterVerse gave us more insight into why not every film franchise is destined for a TV adaptation, as well as why the Marvel Cinematic Universe has a better shot at successful expansion than most.
In the case of “Godzilla vs. Kong,” it feels safe to assume that few people are excited to revisit this universe because...
- 4/1/2021
- by Libby Hill and Leonardo Adrian Garcia
- Indiewire
Thomas Vinterberg is in Best Director. “My Octopus Teacher” (above) is in Best Documentary. Pedro Almodóvar was snubbed, Lakeith Stanfield became a Supporting Actor, “Promising Young Woman” was all over the place, and “Mank” dominated. For many people, the 2021 Oscar nominations were loaded with surprises — but a lot of them make more sense the closer you look. Over the past few months, various campaigns have snaked their way into the conversation and scored Academy voters’ attention. Some of them generated hype at festivals; others avoided them altogether. In this week’s Screen Talk, Eric Kohn and Anne Thompson explain many of the nominations and then turn to the future to muse on what happens next. Is “Nomadland” still the frontrunner? How much momentum does “Minari” have now? Is it fair to call “The Trial of the Chicago 7” this year’s “Argo”? The answers are yes, quite a bit, and...
- 3/19/2021
- by Eric Kohn and Anne Thompson
- Indiewire
All products and services featured by IndieWire are independently selected by IndieWire editors. However, IndieWire may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.
It’s always a good time to update your bookshelf, and today IndieWire staffers have selected some of their favorite film books, from screenwriting manuals to fascinating histories and even musings on the art of criticism itself.
The selections are wide-ranging, so if you’re looking for a book specifically about film criticism then you can check out this list, and if you’re looking for a juicy memoir, check out this one.
But otherwise, read on for a broad spectrum of books about cinema, including behind-the-scenes accounts of major blockbusters, essays on film theory, and more.
Editor-at-Large Anne Thompson’s Picks: “John Wayne: The Life and Legend” by Scott Eyman Buy: $19.99 Buy...
It’s always a good time to update your bookshelf, and today IndieWire staffers have selected some of their favorite film books, from screenwriting manuals to fascinating histories and even musings on the art of criticism itself.
The selections are wide-ranging, so if you’re looking for a book specifically about film criticism then you can check out this list, and if you’re looking for a juicy memoir, check out this one.
But otherwise, read on for a broad spectrum of books about cinema, including behind-the-scenes accounts of major blockbusters, essays on film theory, and more.
Editor-at-Large Anne Thompson’s Picks: “John Wayne: The Life and Legend” by Scott Eyman Buy: $19.99 Buy...
- 3/2/2021
- by Jean Bentley
- Indiewire
All products and services featured by IndieWire are independently selected by IndieWire editors. However, IndieWire may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.
It’s been a year and we’re still stuck in our homes, which means we’ve done more online shopping than ever — for clothes, for DVDs, for practical desk accessories, but also for things that seem silly at first but have actually been almost life-changing, like a fruit bowl with a built-in banana hanger or a car buffer that is almost as good as the super-expensive massager you hear advertised on all your favorite podcasts.
We polled the IndieWire staff to find out what Amazon purchases have made our lives significantly easier or better or just a little bit more bearable, in case you too didn’t realize that you needed stairs...
It’s been a year and we’re still stuck in our homes, which means we’ve done more online shopping than ever — for clothes, for DVDs, for practical desk accessories, but also for things that seem silly at first but have actually been almost life-changing, like a fruit bowl with a built-in banana hanger or a car buffer that is almost as good as the super-expensive massager you hear advertised on all your favorite podcasts.
We polled the IndieWire staff to find out what Amazon purchases have made our lives significantly easier or better or just a little bit more bearable, in case you too didn’t realize that you needed stairs...
- 2/20/2021
- by Jean Bentley
- Indiewire
It’s the time of Peak TV! There’s TV everywhere! You can’t shake a stick without hitting another TV show on another streamer! TV! TV! TV!
All that’s true — until it’s not.
The sheer quantity of TV does not always equate to quality TV winning out, and each year, there are a number of worthy shows that don’t reach whatever mystical threshold television executives have ascertained is required to keep a project in production. This is even more true this year, with the business pressures created by the pandemic often — and some cynics would argue, conveniently — cited as the reason for cancellation.
Here, IndieWire lists, in alphabetical order, the year’s shows that were canceled too soon. They’re gone — but not forgotten, thanks to the afterlife they could receive on those same streaming outlets that didn’t want to fund new episodes. As it turns out,...
All that’s true — until it’s not.
The sheer quantity of TV does not always equate to quality TV winning out, and each year, there are a number of worthy shows that don’t reach whatever mystical threshold television executives have ascertained is required to keep a project in production. This is even more true this year, with the business pressures created by the pandemic often — and some cynics would argue, conveniently — cited as the reason for cancellation.
Here, IndieWire lists, in alphabetical order, the year’s shows that were canceled too soon. They’re gone — but not forgotten, thanks to the afterlife they could receive on those same streaming outlets that didn’t want to fund new episodes. As it turns out,...
- 12/24/2020
- by Libby Hill and Kristen Lopez
- Indiewire
There will always be a handful of safe bets over the course of one year at the movies — of course Elisabeth Moss is going to make a meal out of a slew of very different roles, there’s no question that Gary Oldman can inhabit any historical figure, who could possibly be surprised that the casts of “Succession” and “Better Call Saul” would only continue to impress, the list goes on and on — but it’s often the unknown quantities, the casting against type, and the fresh faces that turn in the best performances.
This year has been no exception, kitted out with an array of breakthrough performances from a wide variety of talents. There are the first-timers owning their big starring role, the reliable performers tearing into something new, and a generation of rising stars making their mark in parts seemingly made for them. Ahead, IndieWire has combed through...
This year has been no exception, kitted out with an array of breakthrough performances from a wide variety of talents. There are the first-timers owning their big starring role, the reliable performers tearing into something new, and a generation of rising stars making their mark in parts seemingly made for them. Ahead, IndieWire has combed through...
- 12/2/2020
- by Kate Erbland and Steve Greene
- Indiewire
There are few things as intriguing as the conversations that happen when two old friends get together and talk about old times. That’s exactly what happened when Emmy-nominated actors Mahershala Ali (“Ramy”) and Sterling K. Brown stopped by IndieWire’s TV podcast, “Millions of Screens” recently.
The pair, who first met while attending NYU’s Tisch School of the Arts, have found real and lasting success within both the film and TV industry, with Ali earning two Oscars and Brown earning two Emmys in the last five years. While a portion of the actors’ chat was previously released, we’re offering fans an opportunity to listen to the entire (lightly-edited) conversation, which touches on a variety of topics including religion, success, scarcity, and comedy.
In it, Ali details his grad school memories of Brown, partially excerpted below:
“I met Sterling K. Brown in 1998,” Ali said. “Grad school is three years,...
The pair, who first met while attending NYU’s Tisch School of the Arts, have found real and lasting success within both the film and TV industry, with Ali earning two Oscars and Brown earning two Emmys in the last five years. While a portion of the actors’ chat was previously released, we’re offering fans an opportunity to listen to the entire (lightly-edited) conversation, which touches on a variety of topics including religion, success, scarcity, and comedy.
In it, Ali details his grad school memories of Brown, partially excerpted below:
“I met Sterling K. Brown in 1998,” Ali said. “Grad school is three years,...
- 8/24/2020
- by Libby Hill
- Indiewire
Under normal circumstances, ESPN’s documentary series “The Last Dance” would have been a success. Centered around Michael Jordan and the Chicago Bulls’ pursuit of the 1997-98 NBA Championship, the series examines both Jordan’s cultural legacy, with all the superhuman accomplishments, and the super human conflicts and complications that plagued the team and the organization from the start.
But in light of our current situation — the 10-part documentary series was originally scheduled to premiere June 23, before ESPN decided to accelerate the release date more than two months spurred by fan fervor and a shocking dearth of sports programming — “The Last Dance” has gained additional resonance. What might have once been an entertaining trip down memory lane, exploring one of basketball’s most exciting dynasties, now carries with it an urgency and communal experience usually reserved for live events and, well, sports.
For better or worse, sports serves as a foundational aspect of American culture,...
But in light of our current situation — the 10-part documentary series was originally scheduled to premiere June 23, before ESPN decided to accelerate the release date more than two months spurred by fan fervor and a shocking dearth of sports programming — “The Last Dance” has gained additional resonance. What might have once been an entertaining trip down memory lane, exploring one of basketball’s most exciting dynasties, now carries with it an urgency and communal experience usually reserved for live events and, well, sports.
For better or worse, sports serves as a foundational aspect of American culture,...
- 4/30/2020
- by Libby Hill
- Indiewire
It is, on the surface, fairly innocuous news. On Tuesday, Variety reported that Netflix had successfully petitioned the Television Academy to allow the second episode of the fifth season of “Black Mirror” to compete as a TV movie at the Emmy Awards, despite not qualifying based on its running time.
The problem with the decision has little to do with “Black Mirror” and everything to do with the Academy arbitrarily undermining its own rules and regulations.
More from IndieWire'Fiasco' Host Leon Neyfakh on the Patterns of Scandal and Making Podcasts Right Now'Extraction': Why Marvel's Go-To Stunt Coordinator Broke the Franchise Mold for His First Feature
In December 2018, during its usual annual re-evaluation of its rulebook, the TV Academy restructured the Outstanding Television Movie category to clarify that in order to qualify as a “TV movie” a submission must be at least 75 minutes long.
At the time, the change seemed to...
The problem with the decision has little to do with “Black Mirror” and everything to do with the Academy arbitrarily undermining its own rules and regulations.
More from IndieWire'Fiasco' Host Leon Neyfakh on the Patterns of Scandal and Making Podcasts Right Now'Extraction': Why Marvel's Go-To Stunt Coordinator Broke the Franchise Mold for His First Feature
In December 2018, during its usual annual re-evaluation of its rulebook, the TV Academy restructured the Outstanding Television Movie category to clarify that in order to qualify as a “TV movie” a submission must be at least 75 minutes long.
At the time, the change seemed to...
- 4/22/2020
- by Libby Hill
- Indiewire
With the pandemic and the unraveling of the global economy, the warped weather patterns spurring snowstorms in the Midwest and vicious tornados in the south, and the complete lack of sports goofs to fuel the internet’s viral video market, it’s no wonder that many Americans are streaming entertainment like it’s their day jobs.
And that’s no exaggeration. According to a new study from market research company OnePoll, while much of the country is waylaid by safer-at-home edicts, Americans are watching an average of eight hours of content per day after obtaining access to an average of four different streaming services.
More from IndieWireWhy Moviegoing May Have Changed For Good -- IndieWire's Movie PodcastQuibi vs. Quarantine: The Antithesis of the Streaming Wars -- TV Podcast
But what, exactly, are viewers hoping to get in exchange for their precious time?
It depends.
One need look only as...
And that’s no exaggeration. According to a new study from market research company OnePoll, while much of the country is waylaid by safer-at-home edicts, Americans are watching an average of eight hours of content per day after obtaining access to an average of four different streaming services.
More from IndieWireWhy Moviegoing May Have Changed For Good -- IndieWire's Movie PodcastQuibi vs. Quarantine: The Antithesis of the Streaming Wars -- TV Podcast
But what, exactly, are viewers hoping to get in exchange for their precious time?
It depends.
One need look only as...
- 4/16/2020
- by Libby Hill
- Indiewire
It doesn’t matter who you are or how distant your socialization has become, chances are you’ve heard of Netflix’s latest zeitgeist-capturing documentary series, “Tiger King: Murder, Mayhem and Madness.”
The limited series debuted March 20 on the streaming giant and in less than two weeks has become the internet’s latest collective obsession, spawning speculation, investigation, discreditation, and, well, memes.
More from IndieWireFinale Footage Not Found: Inside TV's New Normal — TV PodcastCarole Baskin Denies Murdering Her Husband as 'Tiger King' Theories Take Off
The appeal of “Tiger King” is largely its outlandish characters. The fact that said characters are actually real life people only intensifies their idiosyncrasies, making that much more irresistible to the literal captive audience the series has found thanks to the global pandemic.
At the center of the show is Joe Exotic, the eponymous “Tiger King,” a collector of large cats and his nemesis, animal rights activist Carole Baskin.
The limited series debuted March 20 on the streaming giant and in less than two weeks has become the internet’s latest collective obsession, spawning speculation, investigation, discreditation, and, well, memes.
More from IndieWireFinale Footage Not Found: Inside TV's New Normal — TV PodcastCarole Baskin Denies Murdering Her Husband as 'Tiger King' Theories Take Off
The appeal of “Tiger King” is largely its outlandish characters. The fact that said characters are actually real life people only intensifies their idiosyncrasies, making that much more irresistible to the literal captive audience the series has found thanks to the global pandemic.
At the center of the show is Joe Exotic, the eponymous “Tiger King,” a collector of large cats and his nemesis, animal rights activist Carole Baskin.
- 4/2/2020
- by Libby Hill
- Indiewire
On the surface, it looked like a typical Tuesday night on Twitter. There was less sports chat, of course, and the political conversations were more single-minded than usual, but for the most part, things proceeded apace. Which is to say, the Season 4 finale of NBC’s celebrated weepie “This Is Us” remained top of mind for many a TV fan, all of whom seemed to have a take on elements of the episode. Whether it was raging about a big fight or marveling over a character reveal, for a moment all was right with the world.
But soon enough the bubble burst and things returned to the still tentative new normal of the last few weeks. Too soon, both broadcast and cable TV will have to deal with the very real fallout of an industry shutdown: a lack of new material.
More from IndieWireMovie Theaters Are Closed, but What Happens When they Reopen?...
But soon enough the bubble burst and things returned to the still tentative new normal of the last few weeks. Too soon, both broadcast and cable TV will have to deal with the very real fallout of an industry shutdown: a lack of new material.
More from IndieWireMovie Theaters Are Closed, but What Happens When they Reopen?...
- 3/27/2020
- by Libby Hill
- Indiewire
Forget the Upside Down from Netflix’s “Stranger Things” — these days, the television industry is stuck in a place better described as the In-Between. Compared to last week’s deluge of announcements, cancellations and postponements now trickle in piecemeal, and while it might spur some relief to see the news cycle settle into a less volatile drone of bad news, it’s safe to say that the upcoming months hold even more disheartening headlines for an industry already hard hit by the current health crisis.
In that sense, signs are starting to emerge about the shape of things to come. On Monday, FX announced it had indefinitely delayed the Season 4 premiere of the critically-acclaimed limited series “Fargo” because of the intractable halt in production that has arisen in recent weeks. The decision means the show has been edged out of this year’s Emmy race, given the already late-in-the-game April...
In that sense, signs are starting to emerge about the shape of things to come. On Monday, FX announced it had indefinitely delayed the Season 4 premiere of the critically-acclaimed limited series “Fargo” because of the intractable halt in production that has arisen in recent weeks. The decision means the show has been edged out of this year’s Emmy race, given the already late-in-the-game April...
- 3/18/2020
- by Libby Hill
- Indiewire
Ok, let’s admit it, the Venn diagram of those of us who write about film and TV for a living and those of us who have a Vitamin D deficiency just looks like two big overlapping circles. But in our attempt to flatten the curve and mitigate the impact of Covid-19 in our communities, IndieWire’s team is spending even more time in front of our screens than usual.
Between advance screeners provided to press, huge libraries of TV content on DVD sitting on shelves, and our own fiscally irresponsible number of subscriptions to streaming services, what are we watching? Why? And should you watch it too? After all, it’s only considered self-isolation if you don’t consider TV your friend.
More from IndieWire'Black Widow' Release Postponed Over CoronavirusThe Show Must Go On: Here's What's Still Open for Business in Hollywood
We’ll be updating this throughout the...
Between advance screeners provided to press, huge libraries of TV content on DVD sitting on shelves, and our own fiscally irresponsible number of subscriptions to streaming services, what are we watching? Why? And should you watch it too? After all, it’s only considered self-isolation if you don’t consider TV your friend.
More from IndieWire'Black Widow' Release Postponed Over CoronavirusThe Show Must Go On: Here's What's Still Open for Business in Hollywood
We’ll be updating this throughout the...
- 3/16/2020
- by Ann Donahue
- Indiewire
Hour by hour the news rolls in as Hollywood self-isolates readying for the public health crisis that is coronavirus (Covid-19). As upcoming events and productions shift in the hopes of bypassing the illness entirely, television’s Emmy season has no such option.
There’s no significant way that the Television Academy can time-shift an event that spans nearly seven months, so in the meantime the industry is taking things step-by-step, keeping careful eye on shifting opinions at the Cdc and determined to do right by its membership.
More from IndieWireEmmy Predictions 2020: Best Comedy SeriesEmmy Predictions 2020: Best Drama Series
Though it may not look like it for those outside of the industry, For Your Consideration season is a vital part of the awards process, an opportunity for networks and production companies to boost their content in the eyes of both Emmy voters, but also consumers, both of whom benefit...
There’s no significant way that the Television Academy can time-shift an event that spans nearly seven months, so in the meantime the industry is taking things step-by-step, keeping careful eye on shifting opinions at the Cdc and determined to do right by its membership.
More from IndieWireEmmy Predictions 2020: Best Comedy SeriesEmmy Predictions 2020: Best Drama Series
Though it may not look like it for those outside of the industry, For Your Consideration season is a vital part of the awards process, an opportunity for networks and production companies to boost their content in the eyes of both Emmy voters, but also consumers, both of whom benefit...
- 3/12/2020
- by Libby Hill
- Indiewire
When “True Detective” skulked onto the television scene in January 2014, viewers were seduced by the show’s unconventional spin on the typical detective two-hander. Anchored by titanic performances from Matthew McConaughey and Woody Harrelson and innovative direction from Cary Fukunaga (who won an Emmy Award for his efforts), the series subverted the traditional crime drama by infusing heavy doses of spirituality, philosophy, and Lovecraftian horror into one neat little package.
The TV Academy loved it, with the first season of the show garnering 12 Emmy nominations and five victories. And while the series has had ups and (significant) downs in the two non-supernaturally tinged seasons since, it has never again captured the zeitgeist like it did with its debut.
Enter “The Outsider.”
An adaptation of the Stephen King novel of the same name, the new thriller presents itself in early episodes as a by-the-numbers cop drama, before shifting focus to something far more insidious.
The TV Academy loved it, with the first season of the show garnering 12 Emmy nominations and five victories. And while the series has had ups and (significant) downs in the two non-supernaturally tinged seasons since, it has never again captured the zeitgeist like it did with its debut.
Enter “The Outsider.”
An adaptation of the Stephen King novel of the same name, the new thriller presents itself in early episodes as a by-the-numbers cop drama, before shifting focus to something far more insidious.
- 3/5/2020
- by Libby Hill
- Indiewire
I remember when extra-long TV episodes were a selling point. If “The X-Files” was airing a two-hour “television event,” Fox would lead its promos with the upped runtime. Finales were given extra gravitas with extended episodes, and sweeps week was filled with mega entries of each network’s highest-rated shows. “Longer” was meant to equal “better,” even though the motivation for most of these episodes was based in selling more ads around a popular program, rather than the program’s creators begging for more time.
Nevertheless, the “longer=better” concept has cemented itself in the minds of not only TV viewers (as those ads intended), but many of today’s TV creators, as well. Even when ads are a non-factor — like series on premium cable and streaming — there’s an abundance of flagrant offenders. Shows like Amazon Prime’s “Hunters” (which starts with a 90-minute pilot), HBO’s “The Outsider...
Nevertheless, the “longer=better” concept has cemented itself in the minds of not only TV viewers (as those ads intended), but many of today’s TV creators, as well. Even when ads are a non-factor — like series on premium cable and streaming — there’s an abundance of flagrant offenders. Shows like Amazon Prime’s “Hunters” (which starts with a 90-minute pilot), HBO’s “The Outsider...
- 2/26/2020
- by Ben Travers
- Indiewire
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