Interview with Liza Lapira, Neal Bledsoe, Nathan Witte and Mark Amato of “Must Love Christmas” on CBS by Suzanne 11/3/22
This is a cute little Christmas movie. I’d never seen Neal Bledsoe before, but he reminds me of one of my favorite actors, Dan Stevens. Liza Lapira has been on many TV shows I’ve watched, such as NCIS, so it’s nice to see her starring in this. She does a great job as a stressed-out romance novelist. I’ve chatted with Nathan Witte before, and he is truly great in this role as Liza’s past boyfriend. The plot sounds a bit like your standard Christmas movie, but it has a nice twist. Mark Amato, the writer of this film, has written many Christmas movies before, so he knows how to take the formula and tweak it a bit.
Enjoy the transcript of this panel! I’m asking question #3…I mispronounced Liza’s name, but she was super nice about it.
NOELLE LEWELLYN: Hi, everyone. I’m Noelle Lewellyn and on behalf of myself and my counterpart, Eric Freilich, we’d like to welcome you to the panel for our CBS original movie, Must Love Christmas. We will be presenting you with festive panels today for all three of this year’s holiday films.
“Must Love Christmas” premieres Sunday, December 11 on CBS and will be available to stream live and on demand with Paramount+, and the movie stars CBS’s very own Liza Lapira of our hit drama series “The Equalizer.”
The movie is a charming holiday tale in which Liza plays Natalie, a Christmas romance writer who becomes involved in a love triangle and finds inspiration, both personal and professional.
I would like to welcome our panelists, Liza Lapira who plays Natalie. Our movie screen writer, Mark Amato. Neal Bledsoe, who plays Nick, and Nathan Witte, who plays Caleb. And I think I spoil nothing by saying Nick and Caleb are Christmas contenders for Natalie’s heart.
Before I hand the virtual mic over to Mark for some opening words, just a reminder that if you’d like to ask a question, please raise your hand in the chat feature and I will call on you by your screen name when it’s your turn.
Now over to Mark. Mark, if you’d like to say a few words.
MARK AMATO: Yes, thanks. Writer’s block is a crippling disorder that haunts every writer, present company included. Even with dozens of Christmas movies that are under my belt, you sit at a computer and the words aren’t coming. Or worse, they’re coming, just not any good.
So just a plug for our movie Must Love Christmas. Natalie Wolf is America’s reigning queen of Christmas romance. Her novels have earned her legions of fans so much so that our hopeless, hopeless romantic rarely leaves her New York apartment these days.
Until, that is, our recluse finds herself in the cross‑hairs between a horrible case of writer’s block and a looming Christmas deadline. So to shake things up, she takes a tiny step out of her comfort zone for a quick road trip to Buffalo, the town that inspired her very first Christmas novel. But when a freak snowstorm leaves her stranded on the side of the road, Natalie’s world is about to turn upside down when the tow truck driver, who comes to her rescue, happens to be her very first high school crush, an inspiration to the lead character in one of her novels.
Stuck in an idyllic small town that looks ripped from the pages of a Natalie Wolf classic is where fiction and real life collide, but if Natalie is brave enough to take a leap of faith, turn the page, she just might find her own happily ever after.
QUESTION #1: Thanks, Noelle. Nice attire today, by the way. (She was wearing a VERY festive Christmas sweater!)
Liza, my question is for you, actually two questions. Number one, is there something very particular in your mind about being a lead in a Christmas movie specifically. And, number two, I don’t know if there’s also an “Equalizer” episode that night, but if there is, do you get a kick out of the idea that that will lead into this?
LIZA LAPIRA: I do. I’ll take the second one first because that’s first and foremost in my mind. I am really excited for viewers to see me play one vastly different thing one week and then ‑‑ I don’t know ‑‑ couple weeks later or the next week to see this just 180 in terms of a personality shift.
Yeah, this character is ‑‑ Mel, the character I play on “The Equalizer,” is much more self‑assured, to put it mildly, and much more aggressive than Natalie in this movie so that ‑‑ I get a kick out of that.
And then, yeah, it’s really special for me to be the protagonist in this kind of movie because I’ve been a fan for so long. And, you know, on a separate note, it’s special for me to be a protagonist in something. When growing up I didn’t see many protagonists that look like me so this has just been a doubly wonderful, wonderful thing for me to be a part of.
QUESTION: Thank you.
QUESTION #2: Mark, you have a lot in common with the character. I mean, you write books and you write movies, but it’s the same thing. So I was wondering, do you sometimes feel that same thing of falling into a trap, you don’t want to have the guy saying my candy coated dreams, things like that.
What are the things you want to avoid when you’re doing a movie and what are the things you’re really trying to have?
MARK AMATO: The truth is it’s sort of like ‑‑ there are so many tropes that you have to kind of sort of like find a way to recycle and I don’t want to recycle. So sort of like, you know, I always get like my critics would say, you know how it’s going to end, sort of in the royal matchmaker. You see two characters. We know they’re going to be together in the end. I said but do you know how. You don’t know how.
So the last act right before you come back, I guarantee no one is going to be able to predict the ending, and for me that becomes the biggest challenge because if I get to a situation where it feels a little too comfortable and a little too easy, I haven’t tested myself so each one I hope to get better and better.
QUESTION: Cool. Thanks.
QUESTION #3: Hi, yeah. It’s great to talk to you guys. My question is for Liza. What is your favorite holiday? We know what your character’s favorite holiday is, obviously.
LIZA LAPIRA: Yeah, it’s Liza. It’s Lisa with a Z.
QUESTION: I’m sorry. I’m sorry.
LIZA LAPIRA: No, everybody ‑‑ I’m sorry. My mom couldn’t figure out Ss. It’s a whole thing I have with Mrs. Lapira. It has nothing to do with you.
But, yeah, I’m in line with Natalie. Christmas is pretty much up there. It’s a time for family. I come from a very, very big one and it’s the one holiday of the year that we all make the trek to, you know, the main home and congregate and eat and drink and eat and eat. Lots of eating.
QUESTION: Thank you.
QUESTION #4: Yes. Thank you. It’s a question for both Mark and Liza. One of the main stakes of these kind of movies, two of the main stakes are the meet cute and then the final decision, the kiss or whatever it is.
And, Mark, in your case of writing that, which one is harder to do to make sure you don’t fall into the tropes?
And, Liza, which one of those is easier to play and which one is more difficult?
MARK AMATO: It’s interesting because it’s sort of like in my mind I know what I need to do so it’s sort of I kind of reverse engineer. I go to the first place where they meet. I think okay, well, how am I going to dove that tail to the middle and end, and that ending ‑‑ that ending completely predicts or dictates to me how I’m going to get these two characters to clash.
And the way I describe it is the two characters, they really are sort of like better if you squeeze them two together they make one really, really good character so that’s how I create sort of like that meet cute.
Liza, take it.
LIZA LAPIRA: Okay. Meet cute versus the end ‑‑ well, if the actors I’m working with and the scripture working with and the director you’re working with is great, then they’re both pretty easy and both pretty fun to play.
For this movie in particular, I enjoyed ‑‑ I had two meet cutes. I enjoyed both of them immensely. Yeah. I like ‑‑ I always enjoy a meet cute. You know I got ‑‑ I got both kinds of meet cute. I got the meet cute with the high school crush, the guy in my dreams that I haven’t seen in forever, the unrequited love re‑meeting meet cute, and then I got the antagonistic banter witty meet cute so I’m thoroughly spoiled by this movie. Thanks, Mark, and Neal and Nick.
QUESTION #5: Hi. Thanks for doing this. Question for Mark, but also for anybody who wants to answer. I was curious to know if the concept of a novelist who strictly writes Christmas romance, if there was anyone in particular that inspired that?
And if any of you have a favorite romance writer who does primarily holiday fare.
MARK AMATO: I can’t believe anybody wants to talk to me. I’m just the writer. But certainly the inspiration for this movie for me was “Romancing the Stone.” You know are you Joan Wilder, the Joan Wilder, and my version for this was sort of like, if you had somebody who was so completely introverted, who’s just lived in her novels and the occupational hazard that that would create. And then put them into essentially a world where, wait a minute, you’re living out the fantasies that you create and that’s what happens with Liza’s character.
And I really would like Neal to talk for five seconds at least because you create that ‑‑ the opposite side of the meet cute because it really is sort of like a love triangle. So how is that to play?
NEAL BLEDSOE: Fantastic. I guess that would be the meet ugly that we — our meet is anything but cute, but the good news is that we have nowhere to go but up from there. It’s definitely for the holiday romance films that I’ve done it’s definitely a different way to meet a leading lady, but I think it makes the payoff at the end that much more wonderful and unexpected.
LIZA LAPIRA: I agree with Neal. I loved ‑‑ the thing I loved about our romance, without giving too much away or giving it all away, you guys won’t say anything, is the ‑‑ you know after the sort of antagonistic meet the audience gets to see a friendship develop and then it blossoms into a romance and I really enjoyed that.
You know both these characters, I thought about it, both of the leading men in the love triangle helped this character grow just as friends. She confronts like a traumatic thing that happened years before this movie takes place and she gets to not only confront it, but step out of the shell that she’s been living in and ‑‑ and leap ‑‑ leap into her life as an active participant.
The other thing I’ll say, Mark, is that you said I was playing you at the ‑‑ we had a pre‑meet before I signed on and he said, yeah, all she does is write Christmas romance novels. Basically you’re playing me. And I said, sir, it is my honor and my privilege to be you.
MARK AMATO: Thank you so much. It’s the truth though only I’m super extroverted so I’m not afraid of getting out of my shell. But, yeah, you totally were. I mean, this is what I do all day. And every time I do, it’s sort of like, okay, I finished this one. There’s not another Christmas movie to be told. Hey, wait a minute, what if. So thank you.
LIZA LAPIRA: And the other thing I’ll say is to speak to Mark’s point, she did ‑‑ she is an introvert and it’s for a reason and it’s crafted in the script so it was fun to play and relatively easy to play someone who had like a humiliating public social mediaish thing happen and kind of be traumatized by that in a little way, and that’s so relatable now because, I mean, I feel like that happens every five seconds someone is embarrassed by something they say and then have to get over that trauma, and but not everybody has two handsome guys to help them get through that trauma so that was worth it.
QUESTION #6: Yeah. Liza, do you remember when it first occurred to you that you wanted to be an actress and what did your parents say?
LIZA LAPIRA: It was a circuitous route because I came out of the womb singing. I was like the 3‑year‑old that mom would pick up on the counter and be like entertain and so I was just singing and dancing, and then I thought that that’s what I was going to do so I started doing musicals. And then I thought, you know, then I started wanting to do plays without music. I wanted to do straight plays and then it segued into film and TV.
Funnily enough, I think my parents — with the singing, because it was so obvious, they were along those lines. “And get your law degree too, Liza. But clearly you have some ability there, so do that.” Acting was a bit of a shock and they eventually ‑‑ they came around in their own ways. They were never not supportive. If anything, they were just fearful.
And I think for dad it was ‑‑ it was NCIS that he was like, all right, my girl. Like re‑runs to this day and he’s like, yep, that’s my girl. And I think mom I physically, physically had to take her to sets for her to see and she was like, oh, okay this is a job, not only is this a job, it’s a good job and it’s a job with an army of people. Like it’s not just you and a camcorder. It’s like an army. It’s like a team and you’re all a team creating this thing, and that really crystallized it for her so now we’re one big happy family.
NOELLE LEWELLYN: Thank you. Thank you both. “NCIS,” saving families nationwide globally. Actually, I have a question for Neal and Nathan. The both of you are pros at this genre. I’m just wondering, how is it ‑‑ how was the experience of filming Must Love Christmas and was it different? How was it different in any way from your previous projects knowing that you guys have done some of these before?
NATHAN WITTE: Yeah, sure. I’ll just tip my hat to Mark, of course. It’s always the script that reels me in right away, and what I loved about this script is ‑‑ that’s kind of contrary to a lot of other Christmas scripts that I’ve done is that this meet cute that’s happening in this love triangle it just ‑‑ it feels like it happens around Christmas as opposed to like we’re going to do Christmas and shove this ‑‑ this triangle into Christmas.
What I find in a lot of scripts, they’re just — every scene it’s like we got to just let everybody know that we’re doing Christmas in this movie, and every scene you’ve got bells, mistletoes, shirts and sweaters, and everything, cookies. And what I loved about this script is that it was much more nuanced and had its moments of subtlety, but then it had its moments of grandeur Christmas, which I think it allowed to bring up that — Christmas in those moments and make it a lot more special.
And I love the nuance between my character and Neal’s character going after Liza’s character because it really reminded me of ‑‑ I don’t know if anyone else has seen it, but “This Means War,” and I found that to ‑‑ is one of like my favorite romantic comedies and I just tipped that one right next to that just with the sprinkle of Christmas on it so I had a tremendous amount of fun with Neal and Liza.
NEAL BLEDSOE: That’s well put. I think for me, and I just watched the film actually last night, and it was the first time coming back to it since we shot it and I think the thing that stuck out for me the most was that this really allowed the people themselves to be real and the obstacles that they were overcoming to be real, and so often in the Christmas film landscape the problems of the people are eroded away to absolutely nothing. They don’t have any obstacle to overcome. It’s just like oh my god, I do love Christmas, wow. And there’s no ‑‑ there’s no hurdle to overcome so I think there’s no ‑‑ and therefore there’s no catharsis to ‑‑ for these people to learn any lesson and so it feels, in other words, in many of these things that I’ve done it feels that the force ‑‑ the plot has been forced upon them rather than these characters coming to these realizations themselves.
And to kind of go back to something that Liza said, which is that these characters all teach something to each other and because of that there’s this extraordinary human web in this film that at first blush you’re like how are we going to make this work, but it really is that all of these characters are working in triplicate to really feed off one another and therefore they come across as so utterly human in a way that I don’t think I’ve seen in pretty much any other Christmas film that I’ve been in. And that’s fine. I think that’s the genre of those other networks and those other films, but this really felt like the most human of Christmas films I’ve done.
NOELLE LEWELLYN: Thank you, both. That’s really great to hear about that it feels more human and hear about that nuance. We appreciate that.
QUESTION #7: Absolutely. This is for Nathan, Liza, and for Neal. When you go back to where you came from, sometimes the things that you thought were special turn out to be not so special, if ‑‑ if you get my nuance here.
When you have a childhood crush or a teen crush or whatever and you go back and you meet that person let’s say at a high school reunion, they are never what you thought they were. And this is not saying anything against you, Nathan, or the character that you play, but ‑‑ but what has that experience been like for you and what did you ‑‑ what informed the character that you played in this?
NATHAN WITTE: For myself, this — I feel like that Caleb and Natalie didn’t really get to connect back in high school and I feel like Natalie remembered Caleb more than Caleb remembered Natalie. And for Caleb, Natalie turned out better than, in his mind, what she was back in high school and I think that was in part because he’s ‑‑ he was totally enthralled in the school popularity and sports and ‑‑ and going after any chick that was kind of willing to put themselves in his way, and it was kind of the recognition of Natalie coming back again. It was like a refresher, a nice reminder because Caleb going through his difficulties and being in a small town. And if anyone knows what it’s like being in a small town there’s not much of a selection. And so having somebody that is not only way better than you thought she would have turned out to be come back into town, it’s kind of like a refresher, almost like opening up a brand-new present. And I think it was a little too far ahead for Caleb because he’s still dealing with a little bit of his adolescence that kind of gets in the way.
QUESTION: Liza.
LIZA LAPIRA: Yeah, Caleb to me is this shiny, glittering illusion. You know there’s ‑‑ there’s ‑‑ her projection and I don’t even think he plays into it because that sounds manipulative. I think he’s just a charming guy. I’ve got guys like this in my family and he’s just a charming guy and he is who he is. Like even at the end of the movie you don’t hate him. He’s just that guy that does that thing and he has his own love story and has his own, you know, he has his own life.
But as far as going back, I think in high school Caleb probably was the same in that he’s just this charming illusion, this dream guy, and he’s going to live his life and have fun. And I think the only difference between the Natalie/Caleb dynamic or, I should say, Natalie’s relationship to Caleb in high school and in present day is she has more access now. They were close as friends back then and, you know, of course she’s had success in her career. They’ve lived and had their careers and their lives, and now she has access and agency and so she can see that illusion up close. And, unfortunately, she doesn’t until, you know, she gets the help of her new friend, played by Neal.
QUESTION: And Neal.
NEAL BLEDSOE: Well, Howard, if I understood your question right, part of it is about what ‑‑ when we get what we wanted when we were children, when we get that as adults, how is that payoff different. Do I have that right?
QUESTION: Absolutely.
NEAL BLEDSOE: So I think that’s a really insightful question. Thank you for asking it. I think that would ‑‑ that certainly plays itself out in ‑‑ in their love ‑‑ in their love story and what happens to this thing. Do we find it as valuable, in other words, as adults as we did as children and I think that that is such a profound question. It’s something that I could ask myself about acting. It’s something I could ask myself about really kind of anything because who we were as children and why we needed those things that we thought would make our lives complete or thought we would make us the best version of ourselves, those things inevitably change as we become older and if they don’t that speaks to a certainly kind of regression of who we are as adults.
So, yeah, of course. And I think in attaining those things that we so desperately wanted as kids, once we get them as adults we’re allowed to re‑examine them and say like, wow, this actually doesn’t matter as much and I am ‑‑ I am whole without this thing. They become totems and the totems then perhaps become illusions.
QUESTION: Very well spoken. Yes, very, very good.
NOELLE LEWELLYN: Thank you, all. Thank you, Howard. And that is actually the time we have for today. I would love to thank all of our panelists and all of you for joining. We are really grateful. And we are going to say goodbye with Liza who has a few final thoughts.
LIZA LAPIRA: Okay. Oh, I see me. I don’t want to see me. Telling myself. Everybody, I’m just ‑‑ thank you for being here. I hope you guys enjoy the movie. I hope you see it. I can’t wait. It’s a joyous, fun ride and there’s some sweet relationships in it and I ‑‑ I can’t wait to hear what everybody thinks.
And on a personal note, it has just been a career highlight and a thrill to lead one of these movies. As I said, I’m a big fan of this genre and ‑‑ and, as I said, again, it’s been a thrill to be a protagonist, period, but then a protagonist in this great story. And coming from someone who didn’t see many protagonists growing up, this has just been an embarrassment of riches. And the fun that the cast and I and the crew and the collaborative nature of making this is apparent on screen, and I am ‑‑ I’m very, very proud of that. And I hope you all enjoy it.
NOELLE LEWELLYN: Thank you, Liza. We really appreciate that. Thank you, everyone. Please stay tuned. Our panel for the CBS original movie “When Christmas Was Young” is up next.
MORE INFO:
CBS ORDERS THREE NEW ORIGINAL HOLIDAY MOVIES FOR 2022
Award-Winning Musician Sheryl Crow to Executive Produce and
Write the Title Song for “When Christmas Was Young”
“The Talk’s” Amanda Kloots to Star in and Executive Produce “Fit for Christmas”
Prolific Holiday Film Writer and Producer Mark Amato to Pen
“Must Love Christmas”
CBS announced today that it has ordered three new original holiday movies to air in December 2022.
Award-winning singer-songwriter Sheryl Crow will executive produce and write the title song for WHEN CHRISTMAS WAS YOUNG, a Nashville music-themed movie from a script by screenwriter and bestselling novelist Robert Tate Miller (“Hope at Christmas,” Forever Christmas). The story follows a headstrong music manager in desperate need of a hit song for his last remaining client, who finds himself falling for a gifted singer-songwriter with abandoned dreams of making it big, as he attempts to secure the rights to a Christmas song she wrote years ago. Tom Mazza, David Calvert-Jones and Karen Glass (Everywhere Studios) will executive produce, together with executive producers Shawn Williamson and Jamie Goehring for Lighthouse Pictures.
THE TALK’s Amanda Kloots will star in and executive produce FIT FOR CHRISTMAS from writer and executive producer Anna White (“Christmas Wonderland”), the tale of Audrey, an enthusiastic Christmas-obsessed fitness instructor at a beloved, financially beleaguered community center in quaint Mistletoe, Mont., who begins a holiday romance with a charming, mysterious businessman, complicating his plans to turn the center into a more financially profitable resort property. The movie will be produced by Brad Krevoy’s Motion Picture Corporation of America.
Mark Amato, who has created a dozen holiday-themed films, including last season’s CBS Original movie A CHRISTMAS PROPOSAL, as well as “A Kiss Before Christmas,” is writing MUST LOVE CHRISTMAS. In it, a renowned romance novelist famous for her Christmas-themed books finds herself snowbound in the charming town of Cranberry Falls, where she unexpectedly becomes involved in a love triangle between her childhood crush and a reporter determined to interview her to save his dying magazine. The movie will be produced by Brad Krevoy’s Motion Picture Corporation of America.
In December 2021, the CBS Original movies “Christmas Takes Flight” and “A Christmas Proposal” were the first original holiday television movies to air on CBS since 2012, and the newest additions to CBS’ longstanding holiday programming slate, which includes family-favorites like The Thanksgiving Day Parade on CBS and the annual broadcasts of beloved animated classics, including “Rudolph the Red-Nosed Reindeer” and “Frosty the Snowman.”
Interview with Actors Amanda Kloots, Paul Greene, Rebecca Budig, director/producer Jessica Harmon, and writer/producer Anna White of “Fit For Christmas” on CBS by Suzanne 11/3/22
This is a typical holiday movie, but I most enjoyed seeing Rebecca Budig in it (even though it’s a fairly small part) and being able to chat with her. It airs Sunday, 12/4 on CBS.
NOELLE LLEWELLYN: Hi, everyone. I’m back. I’m Noelle Llewellyn. And on behalf of myself and my counterpart, Erin Freilich, we’d like to welcome you to our final panel of the day for our CBS original movie, “Fit for Christmas.”
Amanda Kloots, cohost of our Emmy-award-winning daytime talk show, “The Talk,” wears many Christmas hats for this film, both in front of and behind the camera. In addition to starring as Audrey, Amanda developed the movie, cowrote the film concept, and serves as an executive producer of the film. “Fit for Christmas” premieres Sunday, December 4th, on CBS and will be available to stream live and on demand on PARAMOUNT+.
“Fit for Christmas” follows Audrey, an enthusiastic, Christmas‑obsessed fitness instructor teaching classes at her beloved, financially beleaguered community center in quaint Mistletoe, Montana. Audrey begins a holiday romance with a charming mysterious businessman, which complicates his plans to turn the center into a more profitable resort property. That’s what I call a Christmas conundrum. Sorry. Had to do it.
I would like to welcome our panelists today, Amanda Kloots; Paul Green, who plays Griffin; Rebecca Budig, who plays Lisa; our movie screenwriter and executive producer, Anna White; and our movie director and executive producer, Jessica Harmon.
Before I have Amanda kick things off with a few opening remarks, just a reminder that, if you have a question, please raise your hand in the chat feature and I will call on you by your screen name when it is your turn. Now over to Amanda, who would like to say a few words.
AMANDA KLOOTS: There we go. Thanks, Noelle. By the way, Noelle, I need that sweater. That’s amazing. You look incredible.
NOELLE LLEWELLYN: Done. In the Amazon cart.
AMANDA KLOOTS: I just want to thank everyone for being here today. I want to thank my incredible cast and Anna and our director, Jessica. This has been an absolute dream come true for me. I can’t still believe that it happened. And it was a lot of fun to film. And I’m so excited for everybody to see it. Thank you for watching and thank you for being here. And let’s get this ball rolling.
NOELLE LLEWELLYN: Okay. Let’s hop right in.
QUESTION: Thank you, Noelle. I’ve got two for Amanda. Hi, Amanda. Hi, everybody.
AMANDA KLOOTS: Hi.
QUESTION: Hi. First of all, I know when you talked about this first on “The Talk,” I think it was in early fall, so can I assume that you filmed this during a break from “The Talk,” during a hiatus during the summer?
AMANDA KLOOTS: That is correct, Jay. We went on hiatus in August, and I pretty much flew a couple days later off to Vancouver to shoot the film on my hiatus, finished the movie, came back, and started Season 13 of “The Talk.” No rest.
QUESTION: For the weary. Sure.
The other question, I spoke with somebody else who wrote a movie they starred in recently for the holidays. It’s one thing to star in a holiday movie, but to see characters and perhaps dialogue ‑‑ I know you cowrote it with Anna, but to see words and characters come to life that you developed, not only for yourself but other actors, can you talk about that feeling, being on set and observing that?
AMANDA KLOOTS: Absolutely. I didn’t cowrite the movie. Anna is the writer of the movie, Anna White. I co-created the idea and, you know, definitely helped, you know, conceptualize the entire movie, right up until we were filming. And it was amazing. I have to tell you there was a day on set ‑‑ I’ll never forget it ‑‑ it was ‑‑ we were filming at the Mistletoe Inn. And I just ‑‑ it was so perfectly Christmas. And I looked around and I just ‑‑ I couldn’t believe it was happening. I literally pinched myself because I remember being in my bed in July of 2020 thinking of this idea at 3:00 a.m. in the morning and then having it come to life, and it was just so beautiful. The set that day where we were filming, it was so gorgeous. And I think it was like right in the middle of filming, so the cast had really bonded, and we were all just, like, really gelling that day. And it just felt like magic, literal Christmas magic.
QUESTION: Thank you. Anna, sorry about that misstep about the writing. I’m sorry about that.
QUESTION: Amanda, this is for you. When you were dancing on Broadway, did you say, “Oh, I want to be a producer some day and I want to star in a show that I’ve influenced”? Or was that just ‑‑ was it just in an evolution? And where did “The Talk” play in all of that evolution?
AMANDA KLOOTS: Oh, my gosh. It was a complete evolution, Bruce. I can’t believe what I’m doing right now. I think ‑‑ when I look at my life and how much has changed, especially in the last three years, I mean, just ‑‑ I moved to LA three years ago, and I ‑‑ my sole job was my fitness business. And since then, in those three years, even just since joining “The Talk,” my life has completely changed.
And I can’t believe what I get to do now. I can’t believe that, you know, CBS, they were so generous in taking a chance on me and this concept and allowing this to come to fruition. I’m so entirely grateful to them for doing this with me and having faith that I can act and that I can executive produce and create something. It’s amazing. I just am constantly, I think, blown away by the idea of how life can change and how it can change so quickly and how dreams can come true.
QUESTION: That’s great. Thanks so much.
AMANDA KLOOTS: Yeah.
QUESTION: Hi, everybody. This is for Amanda as well, and then I have a question for Paul. Amanda, what was it like working with Anna White? Can you talk about that?
AMANDA KLOOTS: Yes. I feel like I have met my creative soulmate with Anna White. I could not feel like a luckier human being. She is just the brightest light. She is so funny, consistently creative, and on top of every idea and pun and concept. We met through a friend, a new friend of mine and an acquaintance of hers. Thank God this woman put us together. And ever since we chatted on the phone ‑‑ I think it was October in 2020 ‑‑ and I told her of this idea, we ‑‑ I just knew. It was like stars aligned. And I hope there’s so much more to come from us, because we’ve got a lot of ideas in the bank. And I just ‑‑ I love working with her.
QUESTION: (Inaudible) films that you’ve starred in? Can you talk about that?
NOELLE LLEWELLYN: You’re a little hard to hear. Do you want to repeat yourself?
QUESTION: Yes. Sorry about that. I was just asking Paul, how (inaudible) starred in?
NOELLE LLEWELLYN: We’re still having trouble hearing you. I think you’re asking ‑‑ I think you’re asking Paul how did this film “Fit for Christmas” differ from the other holiday films he starred in. Does that sound accurate?
QUESTION: Correct. Yes.
NOELLE LLEWELLYN: Perfect. Paul?
PAUL GREENE: Awesome. Well, thanks. So it was super ‑‑ it was so unique because I’ve worked with Anna before on a movie prior, and that was a really great experience, and there’s a lot of serendipity with Anna, and I going 20 years back. It’s a long story and a good one.
And then ‑‑ but what made this so different is, you know, working with Amanda in this way, knowing that this was her first experience like this, that it just had this crackling newness and possibility to it that was really unique. There was ‑‑ it was very improvian, in the moment, and spontaneous and exciting.
And then just, you know, immediately, there was this chemistry and friendship between us ‑‑ all of us actors, really, and especially between Amanda and myself, like from the first minute. We were just like long lost friends. And that translated really quickly into a feeling of having each other’s back in the scenes and improvising and ‑‑ which Anna loved when we improvised.
(Laughter.)
And, yeah. It was ‑‑ and what’s unique, too, is having our writer on set, which is the first time I’ve had a writer on one of these Christmas movies, or even a romantic comedy like this, be on set from front all the way through, which was really unique and special, because we went to her with all these really nuanced questions about character and where we were headed and arc, and it was ‑‑ yeah, it was cool.
And for me, it’s special because it’s my first of these with CBS. And so there was a lot of excitement and a lot of trust and a lot of newness to it that made it just super fun.
QUESTION: Yes, hi. My question is for Rebecca. I’m a big fan of yours from “All My Children” and “General Hospital.” This is the first Christmas movie you’ve been in, right? And is there anything that surprised you about it?
REBECCA BUDIG: Thank you so much. That’s really sweet of you. Yes, it is the first Christmas movie I’ve done. And I would say ‑‑ I mean, I’ve shot in all different kind of situations, but definitely shooting with, you know, heavy sweaters and coats in 100 degree heat wasn’t that fun. But actually being with this group of people, it ‑‑ to what Paul said, it really was kind of a magical grouping of people. And I felt like I was in an episode of “Three’s Company” a lot of the time. But it was a lot of fun. It was a lot of fun.
QUESTION: Thank you so much.
QUESTION: Hey, thank you very much for speaking to us. I have two questions. I’m wondering, first, how long did it take to shoot the movie? And secondly, for any of the actors, I’m wondering ‑‑ I always love to ask this question: When the show ‑‑ when the movie will air, will you actually sit down and watch it? And when ‑‑ if you do, can you actually enjoy watching it? Or do you watch to review yourself? Anybody.
(Laughter.)
REBECCA BUDIG: Well, I ‑‑
QUESTION: Nobody likes to answer that question, ever.
PAUL GREENE: Ladies first.
AMANDA KLOOTS: You know, I’ll say to your second question, Mark, that because I’m an executive producer on this film, I’ve already watched a lot of ‑‑ a lot of the cuts. So I do feel like that day, on December 4th, and watching it ‑‑ we are all going to watch it together, actually, except for Paul because he’ll be away. But we’re all going to watch it together. I do think that I’ll be able to watch it on the 4th and finally put, like, my producer hat off and just watch it and enjoy it. And I plan to live tweet that night as well and just really celebrate the premiere of the movie and all the hard work that we all did.
REBECCA BUDIG: I will say, like, my first run‑through, I’m always looking at it, you know ‑‑ at myself with a critical eye. But like Amanda said, like, I think on the 4th when we’re all watching it together, it will just be just really fun and to relive those moments.
QUESTION: Paul? Your thoughts?
PAUL GREENE: This took us about 15 filming days, I’d say. Right? Crazy enough, that is the average for these romantic comedies that happen, these holiday movies, and a lot of the kind of seasonal movies that you see. 15 ‑‑ 14 or 15 shooting days. I know. There’s some long weeks and long days, especially for number one on the call sheet and sometimes number two as well.
And for me, I love to watch them. Like, I ‑‑ I haven’t seen this yet. And so I ‑‑ I sometimes try to watch just little pieces and ‑‑ but never the whole thing so that it’s a good surprise. And so I’m looking forward to watching it, yeah. I don’t have ‑‑ I don’t have too much of a hard time watching it. It makes me ‑‑ I get so excited about ‑‑ you know, I love the nostalgic feeling of Christmas movies. And then just that I’ve been a part of a lot of them and got a chance to do it and get to do that for my job and knowing that so many people are at home and they’re getting so much out of it, it’s a great feeling.
QUESTION: Thank you.
NOELLE LLEWELLYN: And I actually have a question for Jessica, our movie director, Jessica Harmon. Jessica, you work in front of and behind the camera. You are a movie director for this, but you also act. And I’m just wondering, is ‑‑ do you prefer one over the other now? Do you want to continue to do both indefinitely? It was just ‑‑ it’s so great to see that you work, you know, in front of and behind the camera and was just curious about that process for you and how that works just for yourself and for your own ‑‑ for your process.
JESSICA HARMON: Well, thanks for the question, Noelle. I’m just only obsessed with your outfit and the whole look right now. It’s kind of awesome. People are answering questions, and I’m just watching Noelle like I’m loving this.
Do I have one over the other? Yeah, directing, because I think directing is so incredibly exhausting that I can’t put myself in front of a camera anymore. So it’s ‑‑ for me, I think, you know, I was an actor for 25 years, and it was wonderful and I loved it, but I found, personally, my favorite thing was when I started directing, to kind of come in and have these ideas and work with the crew, who I love. And the crew on this film should get a pretty solid shoutout because, you know, it’s really difficult, like Paul was saying, for everyone to do a film in 15 days and in that heat that these poor actors had to sit in. It was ‑‑ you know, in Canada, it was 30‑something degrees, which in Fahrenheit is a whole other situation. But it’s hot, for you Americans listening. It’s a lot. And the crew, you know, puts their all into this. And this film, this cast, and this crew all kind of came together like lightning in a bottle, and it was amazing.
And there’s something that happens when you spend the time directing and you have a vision and you’re working with people like Anna and, you know, people like Amanda who come in with this incredible idea and this incredible vision themselves and they trust you to kind of take it and go forward with it. And then so many people get involved, but at the end of the day, when all of that work kind of comes together and you’re speaking to the actors on set, and they come in and they do something and it’s wonderful, and you kind of come in and you collaborate together, and you step back and you watch it, there’s a feeling that is so special to me as a director now that when I get to watch fellow actors light up the screen, especially in the way that this cast did ‑‑ and no offense to my other casts ‑‑ but that this cast, the chemistry that these people had with one another, and the work that they put into this, and what they brought to ‑‑ the emotion that they brought to these characters, it’s so much more than just kind of a sweet rom‑com, you know, holiday movie. We’ve all seen these movies be made before, but watching these people just explode on camera and the chemistry that they had with each other and bringing these characters to life, it’s like ‑‑ it genuinely brings emotion to me that I don’t ‑‑ I couldn’t even pull myself as an actor.
So when it comes to one or the other, I have to side with directing because I just love working with actors, and I love working with actors like this. And these guys just light this movie up. It was a wonderful script to begin with, but it’s ‑‑ what they’ve done and what I hope the audience ‑‑ you know, what I know the audience will see from them is it’s explosive. Like, the chemistry between all of them is incredible. But you look at Griffin and Audrey’s storyline and where they begin and where they end, every day on set I was shocked by them, because I just ‑‑ I didn’t see them bringing the characters that they brought. I saw Griffin played a different way in my mind. I saw Audrey a little bit different in my mind, and they showed up and they surprised me every single scene. And it was just ‑‑ it was a wonderful, wonderful thing to watch.
So directing wins, but…
NOELLE LLEWELLYN: No. Thank you for that. We will miss you in front of the camera, but we understand and we appreciate your work. And the chemistry does feel very special for the film, so thank you.
QUESTION: This is for Rebecca. This movie, like a lot of movies, a lot of the Christmas movies, makes it feel that a small town, growing up in a small town, living in a small town, you’re very lucky. I sympathize with that. I’m from a small town myself. But on the other hand, you got to go to, like, the Cincinnati School of Performing Arts. And if it hadn’t been for ‑‑ you know, if you hadn’t been in a city, you wouldn’t have been able to do that. A million people from that school went on to become really successful. So when you look at the what’s good or bad about growing up in a small town or a big city, how do you look at it?
REBECCA BUDIG: Yeah. You make a good point, Mike. Because, you know, when you’re in a bigger city, you’re exposed to a lot more opportunities, and there’s maybe a lot more culture and things to experience. But I also really, really, really ‑‑ especially as I get older ‑‑ really appreciate a small town and what that has to offer, because that’s ‑‑ it offers a lot more heart sometimes, a lot more familiarity, and that’s what I think this movie brings, like, warmth to it, because everyone’s connected. You’re more connected with other people. I think in big urban towns, in cities, you get a little disconnected, even though you have your friends and things, but you don’t get to really, like ‑‑ things don’t matter as much as they do in a small town, and that’s what I think this movie brings to it, you know, like, things that matter.
QUESTION: Okay. Cool. Thanks.
NOELLE LLEWELLYN: Next, I just have a question for Anna White, our movie writer. Anna, I’m very curious, what was the process like for you working with Amanda and really shepherding this concept and this idea that she had and bringing that to the screen and writing the script? Can you tell us a little bit about that?
ANNA WHITE: Yeah. I’d love to. It was ‑‑ it was great. Because, actually, I followed Amanda’s story and, like, I ‑‑ my heart went out to her. And then when our mutual acquaintance said, “Hey, Amanda has a great idea for a Christmas movie. She needs a writer,” and we had our first, like, FaceTime and just, like, everything clicked. I thought it was a great idea because we hadn’t seen a fitness instructor Christmas movie yet. And if anyone was going to do it, it was going to be Amanda Kloots.
And so I just ‑‑ yeah, honestly, from there, we kind of went back and forth. We came up with a longer synopsis. We pitched it to CBS I think that December. And then kind of just worked on it and wrote. And every draft of the outline, every draft of the script, Amanda ‑‑ I’d send to her first, she’d give her notes, and then we both would be on the notes calls with CBS. So that way, anything that came up that they wanted to change, like, Amanda and I can bounce ideas off of each other. And Amanda is so creative and thinks outside the box in such great ways, and she knows ‑‑ I mean, like, my workout is walking to Starbucks every day. So Amanda was able to work in a lot more of the “this is the fitness lingo,” and ‑‑ for, like, the fitness scenes and stuff like that, which was very helpful because, you know, I couldn’t write what I know ‑‑ I did her class in Vancouver, though, and let me tell you, I need to work on my endurance.
But the point being, it was great having Amanda there as a partner the entire time. And, you know, any time ‑‑ like if a note was frustrating, I’d be like, “Isn’t this note crazy?” And she’d be like, “Yeah, this note is crazy.” And then we’d figure out how to do it better together. So that was really cool.
And then seeing her come alive on scene as the character was just ‑‑ I’m so glad I got to be part of it and see it. You will not believe that this is her first scripted movie/television role. When you watch it, she was a natural. She went like that. She was so present. I just like ‑‑ I can’t wait for everyone to see ‑‑ I mean, no one’s surprised she has all these talents, but I’m excited for everyone to see her acting chops.
NOELLE LLEWELLYN: Thank you, Anna. And that is a great callout regarding this being a first for Amanda in many, many ways, which makes this such a special story around the movie overall, but thank you. And I, too, will not be fit for Christmas. I might be fit for Easter. We will see.
(Laughter.)
Thank you. That’s all of our time for today, so I think I’m going to throw to Jessica, our movie director and one of our EPs, just to make some final remarks and give us some final thoughts.
JESSICA HARMON: No pressure or anything. Thank you, Noelle, amazing panel, everyone. It was good to see everyone again.
I kind of touched on this with answering your question earlier, but having done this for ‑‑ not this specifically, but having been in the film industry for 27 years, I can honestly say that, you know, I love my job, I love being on set, but it’s not always the easiest thing to pull off. And I think Christmas isn’t always the easiest thing for everybody. Holidays aren’t the easiest time for a lot of people. And I know for Amanda, this movie was, you know, borne out of a very difficult time in her life and grief, and what she’s done with that is an incredible thing that the world has watched and seen. And I know every single person on this cast and every single person watching has also had difficult times in their lives. And this film, for me, I was going through something difficult prior to it, and it was such a wonderful, wonderful experience to make this movie. And I really, really do believe that the performances that these people gave really came from the heart. And I think the audience is going to recognize that and see that.
And, you know, Christmas isn’t always the easiest time for people. And I really do just hope that this movie coming from a group of people that has all had hardships and has all been through difficult times in their own lives and brought beautiful emotions to this story, I really hope that that translates for people. And in my opinion ‑‑ and I’m likely biased, but in my opinion, it really did. And anyone that I’ve shown the film to agrees that there’s just something really incredibly joyous about this.
And I think that, you know, sitting around at Christmas with your family, this is a wonderful movie to watch. Because if you’re in a great mood, it’s going to keep that great mood going; and if you’re feeling a little down, it’s something that you can watch and it’s going to elevate you because it’s just ‑‑ it’s a group of really, really talented, wonderful people who really put their all into it. And I think it’s something that everyone here can certainly be proud of. And anybody that worked on the film I know is very proud of it. And I just can’t wait for everybody to watch it and love it the way we love it.
So just thank you. And I’m just proud to be a part of this film. And seeing all these faces again ‑‑ I’m in Bulgaria shooting a movie right now. And seeing their faces, I’m like — I just feel happy. I think people are going to be happy to watch. So thank you.
NOELLE LLEWELLYN: Thank you for that. And, you know, that’s such a powerful message of triumph and hope and, you know, something that we all ‑‑ a lot of people do need at the holidays. So thank you for pointing that out.
And thank you all for being a part of what is an incredibly fun film. And we are very much looking forward to it. So thank you to our panelists today. We appreciate you.
And everyone, this concludes our CBS holiday collection press junket. I will be immortalized in your mind for the next year in this sweater. Do I regret it? No. We thank you for joining us, and we wish you all a very, very happy holiday season.
MORE INFO:
CBS ORDERS THREE NEW ORIGINAL HOLIDAY MOVIES FOR 2022
Award-Winning Musician Sheryl Crow to Executive Produce and
Write the Title Song for “When Christmas Was Young”
“The Talk’s” Amanda Kloots to Star in and Executive Produce “Fit for Christmas”
Prolific Holiday Film Writer and Producer Mark Amato to Pen
“Must Love Christmas”
CBS announced today that it has ordered three new original holiday movies to air in December 2022.
Award-winning singer-songwriter Sheryl Crow will executive produce and write the title song for WHEN CHRISTMAS WAS YOUNG, a Nashville music-themed movie from a script by screenwriter and bestselling novelist Robert Tate Miller (“Hope at Christmas,” Forever Christmas). The story follows a headstrong music manager in desperate need of a hit song for his last remaining client, who finds himself falling for a gifted singer-songwriter with abandoned dreams of making it big, as he attempts to secure the rights to a Christmas song she wrote years ago. Tom Mazza, David Calvert-Jones and Karen Glass (Everywhere Studios) will executive produce, together with executive producers Shawn Williamson and Jamie Goehring for Lighthouse Pictures.
THE TALK’s Amanda Kloots will star in and executive produce FIT FOR CHRISTMAS from writer and executive producer Anna White (“Christmas Wonderland”), the tale of Audrey, an enthusiastic Christmas-obsessed fitness instructor at a beloved, financially beleaguered community center in quaint Mistletoe, Mont., who begins a holiday romance with a charming, mysterious businessman, complicating his plans to turn the center into a more financially profitable resort property. The movie will be produced by Brad Krevoy’s Motion Picture Corporation of America.
Mark Amato, who has created a dozen holiday-themed films, including last season’s CBS Original movie A CHRISTMAS PROPOSAL, as well as “A Kiss Before Christmas,” is writing MUST LOVE CHRISTMAS. In it, a renowned romance novelist famous for her Christmas-themed books finds herself snowbound in the charming town of Cranberry Falls, where she unexpectedly becomes involved in a love triangle between her childhood crush and a reporter determined to interview her to save his dying magazine. The movie will be produced by Brad Krevoy’s Motion Picture Corporation of America.
In December 2021, the CBS Original movies “Christmas Takes Flight” and “A Christmas Proposal” were the first original holiday television movies to air on CBS since 2012, and the newest additions to CBS’ longstanding holiday programming slate, which includes family-favorites like The Thanksgiving Day Parade on CBS and the annual broadcasts of beloved animated classics, including “Rudolph the Red-Nosed Reindeer” and “Frosty the Snowman.”
Interview with Keshia Knight Pulliam, Brad James, Tim Reid and Angela Tucker of “A New Orleans Noel” on Lifetime by Suzanne 11/7/22
This was a fun panel with these actors for a really nice holiday movie. The movie is set in New Orleans, of course, and the character of Loretta, played by Patti LaBelle, is based on a real person, Loretta Brown, who started the successful business Loretta’s Authentic Pralines. She was the first black woman to start a confectionery company in New Orleans. She passed away earlier this year. Keshia Knight Pulliam, whom you may remember as Rudy from “The Cosby Show,” or her many other series and movies, stars as an architect, and her real-life husband Brad James plays a competing architect, former school rival and, of course, love interest in this rom-com Christmas movie. The legendary Tim Reid plays Loretta’s flame Marcel. It was fun to speak with them, along with writer/director Angela Tucker. Just be prepared to have your mouth water when you watch this movie! Pralines are delicious, and Lifetime kindly sent us a holiday gift basket that included some of Loretta’s yummy pralines. I was inspired to make some of my own this Christmas as well (although they’re not nearly as good).
Grace Hill (Keshia Knight Pulliam) and Anthony Brown (Brad James) could not be more different. Despite having gone to college to study architecture together, their lives took them on completely separate paths. However, when they’re both hired to work together on the home of Loretta Brown (Patti LaBelle)—a New Orleans praline icon —the two find themselves working together at Christmas…and butting heads over more than just architecture. When Anthony and his family discover that Grace will be celebrating Christmas alone, they invite her to take part in their traditions and their celebrations. Soon, fiercely independent Grace begins to learn the importance of family and community, while modern Anthony learns to embrace tradition and the magic of Christmas. But when Grace is offered a new job far away from New Orleans she’ll have to decide if she’ll leave, or follow her heart.
Tim Reid stars as Marcel Lirette, a handsome, retired friend who moves back to town after years away and catches the eye of Lorretta.
A New Orleans Noel is produced by Evergreen Films with Daniel Lewis, Rick Carter, Whoopi Goldberg, Tom Leonardis and Keshia Knight Pulliam serving as Executive Producers. Script by Angela Tucker and Alys Murray and directed by Angela Tucker.
Interview with Candace Cameron Bure, Adam Reed and Lino DiSalvo of “Reindeer In Here” on CBS by Suzanne 11/3/22
This is a really good animated Christmas special on CBS. I hope you watch it! This panel was fun but a little confusing at first because they didn’t tell us who would be there, and they put up a photo of the cast right beforehand, which made me think that the cast would all be on the panel. However, most of them weren’t, so that was also disappointing. I was the one asking the first question here, and I was using my tablet, which sometimes only shows part of the panel on the screen if it’s a large group, so that’s why I asked if there were more. Also, one of the panel members has said some controversial remarks since this panel occurred. I hope that no one foregoes watching the special because of her. She plays a very minor role, and the special is very good. It’s based on a book, or series of books, and a new one is coming out, so it has that product tie-in, along with the toys they mentioned.
TRACEY RAAB: Hi, there. I’m Tracey Raab from the CBS communications team. And on behalf of our entire group, we want to thank you for joining us for our holiday collection press day. We’re excited to be adding even more content into our already robust annual slate of animated specials, movies, concerts, and more. Today we have some first looks and great panels on deck and, at the end of our presentation, a sneak peek at a special one‑hour holiday episode of our hit comedy “Ghosts.”
Hopefully you all saw the announcements this morning for the cast of our newest animated Christmas special, “Reindeer in Here,” and information on a few of our annual traditions: “A Home for the Holidays,” “The Thanksgiving Day Parade,” and the “National Christmas Tree Lighting.” Also, we have two special episodes of “The Greatest At-Home Videos” for Thanksgiving and the holidays, hosted by Cedric the Entertainer, airing November 11th and December 16th.
Throughout the day, please check your inboxes for a link to video content we hope you will share on your social platforms. And finally, a reminder to use the raise hand function to ask a question during our sessions. We will now begin with our first panel, “Reindeer in Here.” Enjoy.
(Clip played.)
KATE FISHER: Hi, everybody. I’m Kate Fisher. On behalf of myself and my counterpart, Victoria Saavedra, we’d like to welcome you to the “Reindeer in Here” panel. We’re so excited to share a sneak peek today of our new animated holiday entry, a heartwarming tale featuring Blizzard or Blizz, a young reindeer living at the North Pole who bands together with his unique group of friends to save the future of Christmas.
The animation and story line are truly unique, and the special is a wonderful addition to our holiday slate. The special premieres Tuesday, November 29th, on CBS and will stream live and on demand on Paramount+.
Now, please welcome our panelists, star Candace Cameron Bure, executive producer and creator Adam Reed, and executive producer and director Lino DiSalvo. I’ll turn it over to Adam first for some opening remarks and a sneak peek at a scene from the special before taking your questions. Over to you, Adam.
ADAM REED: Hey, everybody. Thanks for having us. We’re super thrilled to be here. You know, just a little quick back story. When I sat down six years ago to write this book, it was out of a need for my own family that I couldn’t find a positive Christmas tradition that also didn’t stress me out as a parent. And so I really kind of sat down and tried to write a story that I felt would be unique and different and you would fall in love with the characters at the most magical time of year and hopefully someday become a Christmas classic.
And when I sat down with my illustrator and we were looking at different reindeers, because, of course, reindeer are the most magical thing outside of Santa, there was one reindeer that we focused on specifically, and that one reindeer had one antler smaller than the other. And that is the hero of our story, Blizzard or Blizz. And the reason is because he’s a different reindeer. Right? And every child at some point in their life feels different, because being different is normal, and our film celebrates the uniqueness of every child and of course shows that Christmas wishes really do come true.
And I will tell you my Christmas wish has come true because I know we announced our amazing ‑‑ our amazing cast this morning. I’m so thrilled to have Adam Devine, Henry Winkler, Candace Cameron Bure, Jo Koy, Donald Faison, Melissa Villaseñor, and of course Jim Gaffigan as Santa. So we are so thrilled to be here.
And just to toss to the clip, you’re going to see a little moment here that has almost all of our main characters in it. It has a little bit of funny, a little bit of emotion, and a lot of heart. And we hope you enjoy.
(Clip played.)
KATE FISHER: We’re so thrilled to start taking your questions. As a reminder, if you have a question, please raise your hand in the chat feature and unmute yourself.
QUESTION: Hey. Thanks for talking to us today. Is ‑‑ I can only see four of you on the screen. Is everybody else there? Or is it just the four of you?
KATE FISHER: Just the four of us for this panel.
QUESTION: Oh, okay. I was confused. Sorry.
So how long did it take to make this special? I really enjoyed it, by the way. I thought it was very cute and clever. How long did it take to make? And how long did it take for the actors to work on their voices?
LINO DISALVO: Adam, you’re muted.
KATE FISHER: Adam, you’re still muted. I should remind the panelists ‑‑
ADAM REED: Apologies. Sorry, guys. You know, how long did it take us to make and how long should we have had to make, two different things. Lino, over to you on this one.
LINO DISALVO: Yeah. So we did this in about 13 months. And, you know, you always wish you had a little bit more time, but 13 months. And we had actors ‑‑ well, the thing is, is that going back and forth in total, from casting and finding just the right actors, I would say three ‑‑ three weeks, four weeks.
ADAM REED: And by the way ‑‑ and Candace can speak to this. You know, typically, before COVID times, we would be in the VO booth with all of our actors working with them. And of course, you know, during COVID times, we can’t do that. So everything was recorded remotely. Candace, do you want to talk about that a second?
CANDACE CAMERON BURE: Oh, sure. Well, we did, I mean, lots of work on the computer over Zoom first, but then went into the recording booth solo. And you guys were all on monitors in the booth with me. And it was really only a day, day and a half, maybe, of working on that. So much fun.
QUESTION: And does that include all the animation as well?
LINO DISALVO: Yeah, the animation was about ‑‑ was about eight months.
QUESTION: Cool. Thank you.
LINO DISALVO: You’re welcome.
QUESTION: For Adam, I can’t help noticing that this is the exact opposite of Archer in so many ways. I mean, Archer just ripples with cynicism, and this is the precise opposite. So what was it like to go from one to the other? And which one of those two is really you?
ADAM REED: Well, here’s what I’ll tell you. I’m actually not the Adam Reed that created Archer. That is a different Adam Reed, and that Adam Reed and I always get confused. He gets my e‑mails; he gets ‑‑ and I get his e‑mails. So very, very different. So luckily, to answer your question, this is my only baby.
QUESTION: Okay. And let me ask you, what’s it like for so often people to assume you’re the other Adam Reed? Do you enjoy that or is it weird?
ADAM REED: No, look, we were at the same agency for a long time, and we’ve never actually met. So, you know, it’s just kind of funny.
QUESTION: Okay, thanks.
QUESTION: Hi. Question for Lino. Obviously you’ve been a head of animation before this, but I believe this is your first time as director. I was curious to know how different that responsibility has been for you being that you used to lead a team of just animators and now you’re managing the whole pipeline.
LINO DISALVO: Yeah. I love it. I mean, especially that ‑‑ I think when you find a script that speaks to you and feels honest to you and you can relate to the characters, it’s really enjoyable. It’s wonderful. I mean, you know, the team that I was leading at Disney was ‑‑ you know, I would oversee a couple hundred people, and I think the crew on our show was less than 200 people. So, listen, I loved it. Like, as an animator becoming a director and working on a holiday movie, dude, I’m thrilled. I loved it.
QUESTION: Okay. Thank you.
LINO DISALVO: Thank you.
QUESTION: Hi. Thanks, Kate. Hi, everyone. Candace, you’ve obviously got a lot going on this holiday season, like a lot. And you’re very associated with another network these days. Do you have a special ‑‑ I don’t know if the word is “out” or “out clause” or whatever ‑‑ in your deal with them that if something like this comes up that’s animation only, it’s okay for you to do it for another firm? And also, did this fit in comfortably with everything else that you’ve got going for this holiday season?
CANDACE CAMERON BURE: So to answer your question, yes. Obviously I’m in the project, so I was ‑‑ I was able to do it. And it’s been a huge dream of mine for a very long time to be in something animated that’s very special. And it was so fitting to ‑‑ for my first animated movie to be in a Christmas one. So that was very exciting for me. And I’m forgetting the second part of your question.
QUESTION: I’m sorry. The “yes” part was to that you have a special out clause with the other network in terms of doing something with animation? Was that what the “yes” was for? I’m sorry. Was that ‑‑ there were two questions. I’m sorry. The “yes” that you gave was to the question about ‑‑
CANDACE CAMERON BURE: Oh, that, yes, I was able to do this project. And, yep.
QUESTION: And then the other question was ‑‑ I guess the “yes” takes care of both of those. Thank you.
CANDACE CAMERON BURE: Okay.
QUESTION: We’re good. Thank you.
ADAM REED: And can I say one thing that is super important? When we started concepting this movie and how it was going to be, the first person we had in mind was Candace. She is obviously the queen of Christmas and just an amazing human being. And so when we created the roles, we ‑‑ you know, she literally was the first person we thought of. And she is so incredible at this role, there is even a little Pinky plush that ‑‑
CANDACE CAMERON BURE: Oh, I have her.
ADAM REED: ‑‑ everyone is going to love. That is her character and as amazing as she is.
CANDACE CAMERON BURE: Adam, thank you. That was so sweet. I have the little Pinky plush right here. All my nieces are going to get this. And godchildren.
And, yes, I ‑‑ you know, I did remember the second part of your question, if this movie was fitting into all of the other things that I’m doing. And the answer to that is yes. This movie is such a beautiful story that’s so heartwarming and so encouraging to kids to celebrate our uniqueness, and I just ‑‑ I absolutely love it as a mom first and what the message sends. And then of course as an actress, it was just delightful to be in.
QUESTION: Thank you.
QUESTION: Hi, everyone. Thanks so much. I love the special. My two‑year‑old daughter has a little reindeer in here. Her name is Ida.
ADAM REED: Oh, I love that.
QUESTION: And, yeah, we’ve had her since last year. So she was home sick yesterday, so she actually watched the screener with me, and then all day today, she wants to watch the Ida movie. So I really ‑‑ it was really great.
But I was just wondering, did you ‑‑ because the book is done in, like, obviously a different animation style than the show. Were other animation styles considered when you did the special?
ADAM REED: Well, I want to toss that to Lino in a second. The only thing I want to say is you will see very quickly this year there’s a new vision of the book and plush set. So the art is elevated. It’s a completely new and fresh look. And it was very important that we not only elevate it, but we kept it classic. And when Lino and I first started talking, we wanted to have ‑‑ look, for us, we want this to be a Christmas classic, right? To outlive us all, like Rudolph. So for us, we wanted something that was contemporary but also had classical feels to it and felt hand‑painted. And I got to give Lino all the credit for that. He was the one that said, “Look, it’s CG‑looking, but we’re going to hand‑paint all these elements.”
Lino, can you give some context to that?
LINO DISALVO: Yeah, yeah, yeah. I wanted to capture the charm of the illustrations from the new book that’s coming out. So, you know, a lot of times in CG, you’ll put this default fur on a character, and it’s very challenging to art‑direct the silhouette of the characters. The two things that’s very common and which makes illustration so appealing is when you handcraft and suggest fur in silhouette, you do the little drawings of a tuft of fur on the elbow.
So you’ll see ‑‑ when you watch Blizz, you’ll notice that he has these little hero elements on him that really stand out and are really handcrafted. And the other is a lot of the times, you know, when two textures meet on a CG character, they kind of blend together. And I wanted to celebrate, again, what the illustration ‑‑ what illustration artists would do, which is maybe use a dry blush to blend in the textures. So when you look at Blizz again, if you look at his nose, like at the top of his nose, there’s a dry brush stroke there.
And, yeah, I really love the idea that the movie is handcrafted and very high quality. We take pride in that.
ADAM REED: And by the way, if you want to be mom of the year, have Ida bring a special new gift, there is ‑‑ we have “Reindeer in Here” PJs this year and blankets. Yeah, at Target. So they just ‑‑ they just launched and they’re pretty awesome. So maybe an early little Thanksgiving gift from Ida.
QUESTION: Very cool. Thank you.
QUESTION: Certainly. It’s a question for Candace. I’m wondering how you ‑‑ you found the voice. I mean, it’s not that very different from your own voice, but, yet, it does have a distinctness to it. How did you find the voice for the character?
CANDACE CAMERON BURE: Well, that was ‑‑ that was Lino. Really, I didn’t know if I was ‑‑ if they even wanted me to try a different kind of voice. And we worked on that, and they initially were like, “No, we just ‑‑ we really want your voice.” I think my voice is distinctive. I hear a lot from people on the street that they’re not sure if it’s me when they see me, but as soon as they hear my voice, they instantly know that it’s me. And so they really did want my voice. So it was just really working on the delivery of the lines and the little nuances of how we wanted her to be.
And I feel like ‑‑ I feel like Pinky, she’s that ‑‑ she’s that friend that tells it straight, but she has a little bit of a motherly quality to her, or that big sister quality, that she’s still gentle in speaking the truth.
QUESTION: Well, it’s a charming character.
CANDACE CAMERON BURE: Thank you.
KATE FISHER: We have another question actually for Adam. Adam, what has been your favorite part about bringing the book to life?
ADAM REED: Oh, my gosh. That’s a great question. Truly, that we get the opportunity to ‑‑ for everybody in the world to see this. For every child at the most magical time of year to celebrate their uniqueness and their differences, to me, is the most important thing. And certainly my Christmas wish, the only thing I ever wished for was that ‑‑ at some point in every child’s life, they feel different, and to celebrate those uniquenesses at the most magical time of year is all I could wish for, and the fact that this is happening is just all still surreal.
KATE FISHER: Thank you. And a question actually for Candace. What was one of the defining reasons you agreed to be part of the animated movie?
CANDACE CAMERON BURE: Well, one of my ‑‑ my longtime friends ‑‑ I have a very close friendship with Jonathan Koch, who’s a part of this movie. And then meeting with Adam. They ‑‑ I talked to both of them, and I was very excited once I heard about the project. But after I read the script, I was like, “Oh, I’m in. Please. Anything. Like, anything that I can do, I would love to be a part of it.”
QUESTION: Thank you. Candace, I’m just curious. We know you so well for all these holiday projects. Has this been a case of you just wanting to do that because you love Christmas so much? Or do you find that when people start talking about Christmas projects, they think of you automatically? And is there a point where you ever went, “Gosh, I’d just like to do an Arbor Day movie”?
(Laughter.)
CANDACE CAMERON BURE: Christmas truly is my favorite holiday of the year. I’m a woman of faith, so there’s no bigger holiday than to celebrate Christmas. I love that I’ve become synonymous with Christmas because of the movies that I’ve done over the past 15 years. So it’s a great joy for me.
But, again, I’ve dreamed of being a part of a classic animated movie for a very long time. And when I was ‑‑ was offered and pitched this project, it was just, I mean, even more magical for the fact that it was Christmas and it’s for children. I ‑‑ you know, I’m a mom of three and I’ve written several children’s books myself.
So all ‑‑ just the culmination of everything was a no‑brainer and ‑‑ and just a delight to be a part of. So I’m ‑‑ I’m happy ‑‑ I’m happy to be, you know, a part of people’s Christmas traditions hopefully for years to come.
QUESTION: Thank you.
QUESTION: Yes. For Candace, when you do a regular holiday film, you’re dressed up in the holiday outfits and your makeup, and you’ve got the surroundings of Christmas. How did you get yourself into the holiday spirit for doing this when it’s ‑‑ it wasn’t all decorated ‑‑ set wasn’t decorated?
CANDACE CAMERON BURE: Oh, well, this was so exciting for me. I remember leaving the booth where ‑‑ after recording the voices, and I was just like on the biggest high from recording these. I don’t think I need to have the surroundings of Christmas to feel like I’m in the Christmas spirit. I feel like I’m in Christmas 24/7 because I’m constantly ‑‑ you know, 365 days a year, because I’m always reading Christmas scripts and always developing the next Christmas movies, whether I’m starring in them or producing them.
But it was ‑‑ animation is just a whole different ball game and very new for me. So to be able to voice a character, to see some images on a screen, but then work with such an incredible director as Lino who really just pulled all different kinds of just different performances out of me through the character was so incredibly exciting. And I think that was ‑‑ that’s a challenge as an actor when you are in front of the camera and you’re not used to doing things off camera. Everything about your voice has to change because people don’t get to see your facial expressions. They don’t get to see your hand movements. And I’m a big ‑‑ I move. I had to move around that room. I had to move around the booth and really perform it as an actor. But you have to make sure that it all carries through your voice and you can’t rely on your body.
KATE FISHER: Thank you so much. I’m just going to ask Adam to maybe make a few final remarks to close our panel.
ADAM REED: Sure. Look, Candace and Lino and everybody at CBS, thank you. Look, this movie and the “Reindeer in Here” tradition is really to celebrate the uniqueness of every child and show that Christmas wishes really do come true, not only at the most magical time of year, but year‑round. And this movie, we have created not only to be a Christmas classic that I hope outlives us all, but also is meant for the whole family. This is not just for children. It is funny. It works for adults. It works for children. You can really sit down with your entire family. And the adults will pick up on things that children don’t, and maybe vice versa. But we really hope you enjoy. And thank you, everybody. I’d encourage you to watch the whole film. And thanks for having us. We’re excited to share this tradition with the world.
KATE FISHER: Thank you so much to our panelists and journalists for participating in our “Reindeer in Here” panel.
“REINDEER IN HERE®” ANNOUNCES THE STAR-STUDDED CAST BEHIND THE NEW ONE-HOUR ANIMATED HOLIDAY SPECIAL, PREMIERING TUESDAY, NOV. 29, ON CBS
Cast Led by Adam Devine, Jim Gaffigan, Melissa Villaseñor, Henry Winkler, Candace Cameron Bure, Donald Faison, Jo Koy, Gabriel Bateman and Brooke Monroe Conaway
Click HERE for REINDEER IN HERE Voice Cast Graphic
CBS announced today the star-studded voices behind the new CBS Original animated holiday special REINDEER IN HERE®, which premieres Tuesday, Nov. 29 (9:01-10:01 PM, PT/ET), on the CBS Television Network and will be available to stream live and on demand on Paramount+*. The one-hour special, filled with joy and magic for the whole family, will immediately follow the beloved holiday classic RUDOLPH THE RED-NOSED REINDEER (8:00-9:01 PM, ET/PT).
REINDEER IN HERE’s cast includes Adam Devine voicing Blizzard “Blizz;” Jim Gaffigan voicing Santa; Melissa Villaseñor voicing Candy; Henry Winkler voicing Smiley; Candace Cameron Bure voicing Pinky; Donald Faison voicing Bucky; Jo Koy voicing Hawk; Gabriel Bateman voicing Theo; and Brooke Monroe Conaway voicing Isla.
Based on the award-winning Christmas book and plush set created by acclaimed author Adam Reed, written for the screen by Greg Erb & Jason Oremland, and directed by former head of animation for Walt Disney Animation Studios Lino DiSalvo, REINDEER IN HERE is the heartwarming story of how Blizzard (Blizz), a young reindeer who has one antler that is significantly smaller than the other, and his unique group of friends band together to save the future of Christmas. In doing so, they unknowingly create a magical holiday tradition like none other.
Interview with Jane Seymour and Joe Lando in “A Christmas Spark” on Lifetime by Suzanne 11/7/22
It was great fun to see these two together again and speak with them. I’m a huge fan of both actors, and not just for their partnership in “Dr. Quinn, Medicine Woman.” I’m sure their fans will be happy to see them in this cute holiday movie that airs 11/27 on Lifetime.
Recently widowed Molly (Jane Seymour) has lost her zest for life and given up on ever finding love again. But when she decides to visit her daughter for Christmas, she has no idea what holiday magic is in store for her. A former drama teacher, Molly reluctantly takes on the job of directing the town’s Christmas pageant and soon finds herself falling for her leading man, Hank (Joe Lando), the town’s most eligible bachelor. As Molly and the irrepressible Hank fall in love, she rediscovers her inner free spirit and finds a new lease on life. And when the star of the pageant loses her voice moments before the show, it will be up to Molly to step into the spotlight and shine brightly for the first time in her life.
A Christmas Spark is produced by Lighthouse Pictures and is being distributed by Sony Pictures Television. Toni Braxton, Stephen Bulka, and Jamie Goehring are executive producing. Rhonda Baraka directs from a script by Eirene Tran Donohue.
Interview with Mario Lopez and Jana Kramer of “Steppin’ into the Holiday” on Lifetime by Suzanne 11/7/22
This is a fun Christmas movie with a lot of dancing. I’ve spoke with Jana before, but not Mario. It was nice to chat with them both, of course. This is a better movie than the last one I saw him in. I didn’t realize that he got his start dancing when he was very young. I also didn’t realize that he’s from Chula Vista, which is right near where I grew up! It sounds a little bit like he had a cold during the interview because he was sounding congested and drinking a lot of water. I hope he feels better! Anyway, you should check out this festive movie. Two trailers below and then the interview.
Former Broadway star Billy Holiday (Mario Lopez) returns to his hometown for Christmas after being abruptly fired as the host-producer-judge of the hit TV series “Celebrity Dance Off.” While there, he encounters Rae (Jana Kramer), the charismatic owner of the local dance studio, where Billy’s 12-year-old nephew is her standout student. This Christmas, Rae is planning a dance recital fundraiser with the goal of taking her students to see a Broadway show in New York City. Billy volunteers to help Rae with the recital by reviving the town’s traditional Christmas Eve show, which was once a showcase for local talent. With Billy’s knack for producing and Rae’s knowledge of all things local, their collaboration clicks and romantic sparks start flying!
Cheri Oteri stars as Dallas, Billy’s high-powered, fast-talking, Hollywood agent. Dallas scrambles to find Billy work after he is fired by his boss, Wayne, played by Mario Cantone, a network executive who is equal parts charming and ruthless! Courtney Lopez , Mario’s real-life wife, also appears in the film as Joanna, the charismatic host of “Celebrity Dance Off,” who is tapped to replace Billy (her former fling) as executive producer and head judge after his popularity hits the skids.
Steppin’ Into the Holiday is produced by Via Mar and Roberts Media, LLC. in association with Motion Content Group. Jeff Stearns, Mark Roberts, Mario Lopez, Jana Kramer, Richard Foster and Chet Fenster serving as Executive Producers. David Kendall directs from a script by Aliza Murrieta and Peter Murrieta.
Mario Lopez is an American actor and television host. He has appeared on several television series, in films, and on Broadway. He is known for his portrayal of A.C. Slater on Saved by the Bell, Saved by the Bell: The College Years, and the 2020 sequel series. He has appeared in numerous projects since, including the third season of Dancing with the Stars and as host for the syndicated entertainment news magazine shows Extra and Access Hollywood. He has also hosted America’s Best Dance Crew for MTV. In 2012, he co-hosted the second season of the American version of The X Factor with Khloé Kardashian, and was the sole host for the third and final season.
Jana Rae Kramer is an American country music singer and actress. She is known for her role as Alex Dupre on the television series One Tree Hill. Kramer began her musical career in 2012 and has released two albums: Jana Kramer (2012) and Thirty One (2015). The albums produced seven charted singles on Hot Country Songs and Country Airplay, including the top 10 hits “Why Ya Wanna” and “I Got the Boy”. She competed on season 23 of Dancing with the Stars, finishing in fourth place. (These two biographies are from Wikipedia)
Interviews with Eleanor Matsuura, Laila Robins, Josh McDermitt, Michael James Shaw, Seth Gilliam, Khary Payton, Lauren Ridloff and Ross Marquand of “The Walking Dead” on AMC by Suzanne 11/14/22
It was fun to speak to some members of the TWD cast! I’ve interviewed some of them before, but it’s always a treat. I was especially happy to speak with Seth Gilliam, who was awesome as the vet in “Teen Wolf”; and Michael James Shaw, who is great as Shaw in “Blood & Treasure.” I don’t watch TWD regularly (not a fan of zombies), but it’s a very good show. Everyone is really looking forward to the series finale tonight. It’s a bit sad for these actors who have been on it for so long. However, the interviews were very enjoyable – as you will see below.
The first roundtable interview was with Eleanor Matsuura (Yumiko), Laila Robins (Pamela Milton), Josh McDermitt (Eugene Porter), and Michael James Shaw (Mercer).
JAMIE OF SCIFIVISION: In your own opinion, what do you think is the most defining moment for your characters that changed them, and how did it change them, for each of you?
LAILA ROBINS: I would say when my son became a walker; I think that was a big one, to see him in that shape and form. And then again, I think, last night. Something shifts obviously when you shoot a child. So, I would say those two things.
ELEANOR MATSUURA: For me, I’d say it’s probably seeing my brother, my brother’s picture on the wall looking for me at the beginning of this season. My god, that was the first episode of this season. It feels like a second ago. Yeah, I think, for Yumiko, that was the beginning of, I mean, it was the beginning of drawing everyone into the Commonwealth by virtue of making the group that I was with stay in that moment. But it was this glimpse into her past, this pull that was keeping her from leaving with the group. And, yeah, an opportunity to sort of see where she came from, and how that’s unfolded in this season with the courtroom stuff, and representing Eugene, and it felt like the past and the present, were all just brought together, like smashed together. So, I would say, yeah, probably for all the seasons I’ve done, that’s probably been the most pivotal moment for Yumiko, seeing that picture on the wall.
MICHAEL JAMES SHAW: Oh, for Mercer, I think a defining moment in this last couple of episodes is when his sister Max refuses to sign the forced confession. I think that sets him into motion, and he’s plotting things in his own head but not really allowing people in, but he’s definitely still starting to make moves at that moment, because she’s everything to him, and if he lost her, I don’t think he’d have any purpose anymore. So, yeah, that’s a big moment for him. It shifts the balance.
JOSH McDERMITT: I mean, it’s hard, just because I feel like the guy is changing so much throughout. And we’re talking about just season 11. Right? We’re not talking about for the series?
JAMIE OF SCIFIVISION: No, I’m meant overall, if it’s something else important.
JOSH McDERMITT: That is such a hard question to answer.
JAMIE OF SCIFIVISION: [laughs] Then do this season. We’ll make it easier.
JOSH McDERMITT: Yeah, well, I’ll tell you, this season, I mean, there were kind of two moments, but they were kind of joined together, so more like a sequence. But it’s just finding out the truth about the decoy Stephanie, who turned out to be Shira, and who Max really was. I think that that brought him down to his lowest point, but then meeting Max kind of brought him up again and gave him a new outlook on life, even though it’s kind of the outlook that he wanted, when he came to the Commonwealth, but it was definitely when he felt like all hope was lost that he did see this little tiny light off in the distance, and that light has grown to then shine the light on all the misdeeds and the bad things going on in the Commonwealth. I really think that kind of sequence, those two things together, were were defining moment for at least the season.
TONY TELLADO OF SCIFITALK: For all of you, what was it like to kind of break new ground into The Walking Dead and to actually have courtroom drama, as opposed to hunting walkers and all that? What was the vibe on those days? That must have been pretty neat to shoot something so different like that? It’s for everyone.
ELEANOR MATSUURA: It was wild. It was so weird. I mean, I found it weird. I know I spent most of those scenes next to Josh. So, I remember we would turn to each other a lot and be like, “This is wild, right?” Because we could almost look down the barrel of like, if we’d had even more time and more episodes; say this part of the storyline had happened at a different like earlier or something, this could have gone way far down into like a whole courtroom drama. It just was so bizarre. I mean, just when I thought the Commonwealth couldn’t get any weirder, I was standing in a courtroom. I mean, I suppose there’s been so much talk about Yumiko as a lawyer, how good she was, it’s like, I sort of feel like we had to see her in action at some point. It was inevitable that we’d get the courtroom scenes. And in some ways, even though it was weird, I wish we’d we had gotten to delve into them even more, but, I mean, if I found it strange, Josh, you must have found it even more strange. I mean, mind you, this shows taken so many different iterations, maybe it’s not weird to you anymore.
JOSH McDERMITT: Well, I mean, the show continues to surprise me in the new territory we jump into, and this was no different. It always feels weird when you don’t have blood and guts [on you]. When you can work on the stage and not be sweaty.
ELEANOR MATSUURA: And your clothes are clean.
JOSH McDERMITT: Yeah, like that’s great, and really, to just kind of be still and not not have a bunch of action and business that you’re supposed to be doing where you’re walking around and taking a horse and putting the horse over there. You know, it’s like, you can just sit at a table and just do your thing. That was weird. But I know we have a lot of people on the show, cast and crew, who have all done courtroom dramas, you know, other series at some point. So, that was fun to talk to them, because there is a specific way you kind of have to shoot a courtroom scene to keep it interesting. I mean, the storyline isn’t always interesting enough. There’re camera movements; there’s a pacing to it. There’re all these other things. So, it was nice to, in a sense, do an episode of Law & Order without ever having to leave Atlanta, Georgia.
LAILA ROBINS: [laughs] Okay, I’ll piggyback on that. I’ve done so many Law & Orders, and I’ve worn so many suits and so many high heels. I was praying for a job where I thought, “Oh, I get to be out in nature and the woods.” Watch out for what you wish for [laughs], because when you’re shooting out there under the sun in Atlanta with a wig on and a wool coat and boots and a gun. It isn’t so pretty. I was like, “Oh my God, thank God we’re back in the courtroom.” [laughs]
MICHAEL JAMES SHAW: It was surreal the whole time. We kept looking at each other like we’re in The Twilight Zone. You know, just, what show are we doing today? [laughs] It was good fun though, good fun.
SUZANNE OF TVMEG.COM: Hi, guys. I wanted to start with Mike. It’s great to see you. I love your show Blood and Treasure, and your character on there is just amazing.
MICHAEL JAMES SHAW: Thank you.
SUZANNE OF TVMEG.COM: So, do you think that most of the fans will like the ending?
MICHAEL JAMES SHAW: They’re going to love it. [laughs] I loved shooting it. Yeah, I can’t really say much about that, but some shit’s going down, and it’s good.
SUZANNE OF TVMEG.COM: Anyone else like to give their opinion on that?
ELEANOR MATSUURA: …It’s so hard to answer. I feel like we’ve been asked this a lot, and I always try and summarize like, are we going to be able to please, every single person on the planet? I don’t know. I don’t know if we are, but then this show wouldn’t have gotten this far without people’s total commitment to it. Like it’s eleven seasons of a show. That is a huge amount of time, I think. And I really do think if you’ve dedicated your life to the show, and the way that so many people have, and you’ve come this far, I don’t think you’re going to be disappointed with the end. You might have certain things that you would have hoped turned out slightly differently. You might have bits and pieces that might not be the perfect package, but I do believe in the integrity of how we finish the show, and I feel like it’s a good ending, even though we know that we’ve got a bunch more spin offs, which I’m sure people can, like, fill their boots if they need to go and get more, if they didn’t feel like they were satisfied with what we’ve done. Yeah, and that’s all we can say. We tried to finish it out in the best possible way that we could. Yeah, and I believe in the integrity of that, like whether or not everybody will think it’s the perfect ending, that would be an impossible thing to quantify, but I think we’ve given it a damn good shot.
LAILA ROBINS: Yeah, I think it’s a very emotional show. All of these people who have invested themselves in watching it, I’m just thinking of all the actors who have been there for eleven years and how they must feel. I can’t even get my head around that idea, knowing that you won’t see each other as often as you normally do, and that they’re a real family. I mean, I’m a late comer. I even feel emotional about it. I can’t even imagine someone like Josh saying goodbye to it. It’s unbelievable.
BRIAN: Josh, this question is for you. You have been on the show since season four, and then you mentioned how the show has changed a lot; your character has changed a lot. So, what are some of the few things you’ll miss about playing Eugene?
JOSH McDERMITT: Definitely, what you just said, the fact that he hasn’t been a stagnant character. I think every time you kind of jump onto another production, and you’re playing a new character, you fall in love with that character, and you hope that the writers change the person a lot to keep it fresh, because, as human beings, we do change ourselves. But I think this one’s going to be hard to top with that sort of thing, just because it wasn’t just season to season, but sometimes it felt like episode to episode he was having new revelations about himself and that sort of thing. I definitely definitely miss that about it. I would just hope that other characters I end up doing can hold a candle to Eugene, because even if they’re half as fun playing, I’ll have a great time with it.
JAMIE OF SCIFIVISION: For each of you, what do you think is your character’s biggest regret?
JOSH McDERMITT: I think for Eugene [laughs] much like the defining moment, there’re too many. [laughs]
JAMIE OF SCIFIVISION: [laughs] Sorry.
JOSH McDERMITT: No, it’s, it’s fine. I mean, it just speaks to kind of the question that [the other journalist] just had about just how everything changes, and it’s very fluid, and that’s what makes it fun. But I think for Eugene, a very big regret for him is that he didn’t do more to help – help his group get around Negan and the Saviors, I guess, that Glenn and Abraham died. Eugene is the type of guy who will continue to think through problems, game-plan, figure out a way to get in the cracks so that he can continue to survive, or the people that he cares about can succeed, and that’s one where he lost. He really lost, and I think that does eat at him, because of what happened. In the end, he lost two people that were very close to him. And honestly, it wouldn’t surprise me if that’s a big regret for a lot of the characters on the show. It still haunts everybody. I mean, from Maggie all the way down to Judith. She was a baby at that point, or a kid, a little kid. So, it just I think that was probably his biggest regret, that he didn’t he wasn’t able to do more.
LAILA ROBINS: I guess for Pamela it has something to do with not being the best mother somehow, my inability to communicate with my son or to get through to him or to guide him properly or to have him care about the family’s legacy or somehow to inspire him, that I lack the ability to inspire my own son to greatness, I think is a regret. And obviously, what it led to, his demise, and ultimately, his death. But I think she does take that responsibility.
MICHAEL JAMES SHAW: I guess. Mercer’s biggest regret is that he didn’t put eyes on Hornsby sooner.
LAILA ROBINS: He’s slippery! [laughs]
MICHAEL JAMES SHAW: It could have saved us a lot of trouble. He could have saved us all a lot of trouble. That little snake. [laughs]
LAILA ROBINS: You were just wowed by his outfits. You weren’t looking deep enough. You got all caught off in his outfits. [laughs]
MICHAEL JAMES SHAW: Where’s he getting these fabrics from?
LAILA ROBINS: Pink!
ELEANOR MATSUURA: That’s a hard one to answer. I think probably it’s something to do with not being able to do enough, because something about Yumiko is that she’s relentless. She truly doesn’t ever give up, even in the face of such adversity, when you sort of think there’s just like – there’re so many moments with Eugene and Pamela where you see her, and you’re like, “There is literally no way out of this.” And even even though she knows it’s kind of pointless, she just keeps going and going and going. So, I’m thinking to myself, “Well, I wonder where that comes from?” And because the pivotal moment with her brother, like I spoke about before, seems to be such a important core thing for Yumiko, I guess there must be something from her past that may be something that we haven’t seen in the show. It would be something that I have probably been playing without even consciously realizing it, just like this feeling of like, you could see it, it’s like striving to be the best, because she comes from this very prestigious, educational background, but I don’t think she sees it like that. I don’t think it’s about the competitive [nature], trying to be the best. I think it’s about more not feeling enough, therefore not giving up. I’m sorry; I know that’s not a direct answer to your question. That’s the best way that I can answer.
TONY TELLADO OF SCIFITALK: What life has been like after The Walking Dead is over and kind of transitioning to leaving the air, leaving Atlanta and all of that and kind of going back to some semblance of real life? What’s that been like, for all of you?
JOSH McDERMITT: I cry less. That’s a big one. [laughs] I mean, I still cry. It’s just less. It’s been nice for me to come home and reconnect with people. It’s hard to maintain some relationships when you’re away. Texting and calls do so much but it’s it’s really that face to face interaction is what I think we were craving, and so it’s nice to be home and to be in my own home, to be in the nice Los Angeles weather and that sort of thing. There’s a peacefulness about being at home; it’s kind of nice.
LAILA ROBINS: It’s been nice to come back to New York and catch up on all the plays my friends are in, shows that I wanted to see before they closed, theaters having a tough time these days. So, it was fun to to go see some plays, but it is weird when you’re on a set for a long time. It’s almost like a safe zone, because your your life is scripted, and I always find that weird slight anxiety when I’m wrapped for the day. As to, “Oh, now I’ve got to go be myself.” [laughs] I’m boring, you know? So, it’s been interesting to reenter and kind of go, “Oh, yeah, yeah, yeah, yeah, yeah. Here I am; here I am,” when you’re playing a character more than you’re being yourself. Also, that was the other thing I wanted to say, that why I couldn’t think of it. It was during COVID, so we weren’t as social as perhaps we might have been as a cast. I mean, one of my regrets is I didn’t get to hang out with all the actors or really get to know them all that well, because we were unable to do that, perhaps, as much as normal. So, that was a regret.
MICHAEL JAMES SHAW: To speak on that, life since The Walking Dead, so we wrapped the show, and I stayed around in Georgia practicing jujitsu, and I broke my knee. Yeah, I have a theory that if we would have just kept shooting the show, I never would have broken my knee. But I ended up having meniscus surgery back in August, and now I’m like, 80% recovered, killing it, but if we would have kept shooting The Walking Dead, I probably wouldn’t have broke my knee. [laughs]
ELEANOR MATSUURA: I was just going to say, when I first joined the show, my first child was, I think, six months old, so, really tiny. So, we moved my whole family. We uprooted, and we moved to Atlanta, and everything just felt like my life had been sort of just flipped upside down and all just like shaken about. Then, over those these last four years, I totally fell in love with Atlanta. I totally fell in love with Georgia. Then, I had my just had my second baby. I mean, I was pregnant most of the shoot of this last season. So, it’s so integrated into my life, the show, it’s become like our families; it’s just a part of our life that it’s feels weird now that I’m not going to be like trundling back to Atlanta next month. It’s really weird. It’s weird, because that has been the rhythm that I’ve been used to for the past four years. Yeah, I think it’s just been starting to hit me these last few episodes. I really think it will only truly hit me hit me the finale next week, when when we’re all together. Then, like Josh was saying, sort of just seeing the faces, everyone’s faces in real life for the last – not for the last time. Of course, we can all like meet up and whatever, but it’s different, because it’s like, this is our celebration of the show. We’re not going to have another like, “Oh, okay, I’ll see you next month, see you next season” kind of thing. It’s ended now. So, it’s like, for me truly, I’m just getting used to this, almost a whole new rhythm of life.
SUZANNE OF TVMEG.COM: Josh, when did the filming actually wrap, and what were your feelings when you finished with it?
JOSH McDERMITT: It was in the spring, but I don’t remember specifically. Sometime in March or April, I guess. And what was the second part of your question?
SUZANNE OF TVMEG.COM: What were your feelings when you had to finish filming for the last time?
JOSH McDERMITT: Oh, yeah. I mean, it was overwhelming. That’s something that’s been a part of my life as a job for the last decade and even longer as a fan of the show. Like, I felt overwhelmed when Seinfeld ended [laughs]; you know, maybe more so with this just I have a more personal connection to it, but, yeah, it was just it was overwhelming, but kind of like what Eleanor was just saying. I mean, I’m looking at their faces right now, and we can call and chat anytime and like, you know, I could go to New York, and Laila and I could go see a show. So, these people are not out of my life. It was just kind of this, “Oh, this chapters done, but the story continues, in a sense that that’s kind of how I was overwhelmed, I think.
SUZANNE OF TVMEG.COM: Now you’re making me cry. [laughs]
JOSH McDERMITT: Good. That was my goal.
BRIAN: With the three spin offs that are upcoming, will you guys be watching any of them? Any of them at all?
ELEANOR MATSUURA: Sure.
LAILA ROBINS: Yeah.
MICHAEL JAMES SHAW: Hell, yeah.
ELEANOR MATSUURA: Yeah, definitely.
MICHAEL JAMES SHAW: I want to see what happens in New York.
JOSH McDERMITT: I’ll only watch it if they give me a screener.
MICHAEL JAMES SHAW: Better call Pix.
JOSH McDERMITT: I mean, I’ll help you write the blog about it.
The next interview was with Seth Gilliam (Gabriel Stokes), Khary Payton (Ezekiel), Lauren Ridloff (Connie) and Ross Marquand (Aaron).
We were only able to ask one question each for this second group of actors. They were entertaining, though.
BRIAN: Your character Gabriel has changed so much since we first see him in season five. So, how much have you enjoyed seeing his character grow over the years?
SETH GILLIAM: I’ve really enjoyed it. It was a fantastic challenge and kind of like yearly pay off playing Gabriel, because there were so many changes, either subtle or outright drastic changes, to his nature over the course of the last, I guess, it’s been seven seasons now. It was not something that I foresaw. I’ve said before I thought that he was walker bait. I thought he was dead in three episodes. I thought this man is not long for this world. I had not read the comics, so I didn’t have any any history or knowledge about the character, but I just thought that he was a plot device to get somebody of more importance killed. So, all of the different changes and platforms that he’s been able to climb over these past seasons has really been extremely exciting to play, and I feel very, very fortunate to be the guy who got to take the ride with him.
JAMIE OF SCIFIVISION: So, for each of you, in your own opinion, what has been your character’s defining moment, and how has it changed them?
KHARY PAYTON: It’s always been Shiva for Ezekiel, because, to me, Shiva dying, it coincided with Ezekiel losing half of his Kingdom in the war, in all out war, and I think he has been fighting to come back from that ever since. So, even when I was mourning Shiva on the show, you know, because it was a CGI Tiger, she was always, for me, the embodiment of the Kingdom itself. So, when I was grieving her and mourning her, it was Ezekiel mourning his people and his worth as a leader, and as a person, for thinking that the power of positive thinking means that everything’s always going to be okay, and coming to find that really, it’s about persevering. It’s not that everything’s going to be okay; it’s how you get through and still make life worth living. But yeah, it all goes back to Shiva for Ezekiel.
LAUREN RIDLOFF: I was just thinking about for my character for Connie. I was thinking about when Connie actually saves the baby, but then I thought also about the episode that we shot, “On the Inside.” I think that truly was Connie’s defining moments, because I know that there’re so many times that people ask, “Okay, so Connie is a survivor. She’s arrived, she’s strong, she can fight. She can save the baby. She has a good heart.” But the burning question was, “How exactly did she survive?” So, I think that on that episode, it gave people an opportunity to see how Connie navigates that world. I really loved the way that episode focused on some specific things that involved conversations I had with Greg Nicotero before we actually shot that. When I first read the script, it had Connie just walking down the hall and looking around the hall, but I told Greg, “Well, as a deaf person who has nothing but her eyes to rely on, she would find other ways to navigate. She would need more information,” because at this point to survive, you need all the information you can gather about what’s happening around you. So, to get more information, Connie would use her hands. She would probably put her hands on the wall and feel the vibrations, you know, feeling the floor creek if somebody’s walking behind her. I think that’s how Connie would gather that information. There’s no way that Connie would just walk down the hall. It just wouldn’t happen, because all her vulnerability is going to be what’s behind her back. She would probably put her back up against the wall and use her hands to to guide herself so she can keep her eyes on both angles. So, I think that kind of specific information played out on the screen so well. I feel like I was just excited to actually finally show everybody how kind of Connie had survived.
ROSS MARQUAND: Yeah, I think where Aaron loses Eric was definitely the one that shifted him completely, because in that one episode he loses his longtime partner of God knows how many years. I mean, it’s arguably one of the longest relationships that we ever see on the show, rivaled probably only by Rick and Laurie, but in that episode, he obviously loses his partner, which devastates him completely, but he also gained a daughter. I think when Rick comes out of the Sanctuary – not the Sanctuary, but whatever that compound is, after just having killed her father, Rick comes out with this baby, and I think Aaron is so lost in this moment that he needs to take the baby and just do something and tether himself to this new life, because he’s lost. He’s just like a cyclone of emotions this point, and if he doesn’t tether himself to somebody or something, he’s just going to go off the deep end, and he’s just going to lose his mind. So, it’s a beautiful moment where a man who has lost everything all of a sudden gains this new responsibility. I think it’s wonderful that he’s taken on this role. At first, I was surprised that the showrunners wanted me to really raise this kid, but now I look back, and I think it was just perfect. It was a perfect and very logical transition for him after having just lost his partner.
SETH GILLIAM: I think it was when Father Gabriel lost his vision, not fully, but in his right eye. It seems to coincide with him seeing things a lot clearer and being a little more devout in his belief in himself and his decision-making process and his courage level and his conviction levels. I think he went partially blind and gained a bit more insight into himself.
KAREN: What can you tease about the finale, and also what was the experience like to film that last episode and to also put these characters away?…And for each you?
KHARY PAYTON: You go ahead. You go ahead.
SETH GILLIAM: No, I was talking, but you’re the king. So, you go ahead.
KHARY PAYTON: You’re stupid you’re stupid. But I mean, I’m going to start by saying we’re not teasing a goddamn thing. You waited twelve years for this episode. You are going to wait another five. We’re not teasing anything. I’m not telling you if the grass is green or brown. I’m not telling you if the dirt is is gravelly, or if there’s if it’s smooth. I’m telling you nothing. It was too cold that day. It was too cold that day for me to be teasing anything. No, but seriously, that’s really how I feel. I mean, I feel like so many people, they want us to tell something, but to the crew and the cast and everyone that has waited this long, I think patience is a virtue. That’s what I will say. I will also say that I have still not mourned the end of this whole thing. I’m not sure if I will. Maybe when I see everybody at the finale, I will finally have some kind of cathartic experience, but Cristian tried to do this, like, two years ago, when we started filming this last season. She started to tear up, and I was like, “Don’t you do it. Don’t you do it, girl. I am not going to cry for two years.” and I think I shut it down. I shut it down. Ever since then. I might just end up being a blubbering mess on Sunday, but I have yet to truly come to terms with letting things go.
KAREN: Anybody else?
KHARY PAYTON: She, she just skipped right over me. She was like, “Yeah, somebody else tell me.
KHARY PAYTON: I love it. I love it, man. I love you guys right now. Your silence is like love to me. It is sweet ambrosia.
SETH GILLIAM: Much like Khary, it’s still not over for me. The work part is over, but the relationships aren’t over. The show hasn’t finally finished airing. There’s still a finish line ahead. So, I’m not going to sit down on the track and unpack my bags just yet. I’ll cross the finish line and then see how I feel late next Sunday night.
LAUREN RIDLOFF: I guess this is kind of like a real long goodbye, and I don’t think that it will ever get to that point. I just feel like this is a goodbye that’s just going to keep going on for another twelve years. I mean, we finished shooting this back in March. Well, first week of April we were done shooting it. Since then, I’ve seen Seth; I’ve seen Norman. I’ve seen other cast mates every now and then. We get together to do a lot of interviews like this. And now the show has been coming out, so it hasn’t really sunk in yet. I’m really looking forward to this Sunday, because that actually means finally, hopefully, most of the cast will be able to get together and look back on all of the work that we’ve done. It’s such a huge honor to be a part of this. This is a cultural phenomenon, in my opinion, and I was part of that narrative, and what an honor it has been. I had a chance to watch the final episode. I finally got to see it, and it’s big. The finale is huge, and I think that we the viewers will feel content and satisfied, but at the same time, I don’t want people to expect it to just be a nice bow at the very end, because it’s still going to go on, just like real life; nothing really ends.
SUZANNE OF TVMEG.COM: My question is for Seth. Can you talk a little bit about how playing this character has helped you both personally and professionally?
SETH GILLIAM: But that would make me somewhat of a bore, wouldn’t it? Just another actor talking about himself?
SUZANNE OF TVMEG.COM: No…
SETH GILLIAM: I’ve had an opportunity to see parts of the world I never thought I would. I’ve met people from all walks of life that I did not imagine when I first started out as an actor being able to have access to. I’ve seen places I didn’t think I’d see; I’ve met people I did not imagine meeting. I’ve had fantastic exchanges and experiences and conversations with people both about the show and about my life [directly related] to the show, or indirectly related to the show. I’ve made friends for life. My life has been enhanced and enriched in ways that I can’t really measure from being a part of the show. I guess that’s why I haven’t closed the book on how I feel about it, because I am so full from the experience that I’ve had on the show that I have no place to put up a wall with it, you know? And I don’t remember what the second part of your question is, because I’m trying to keep it short.
SUZANNE OF TVMEG.COM: Professionally…?
SETH GILLIAM: Professionally. Yeah, I’ve done a couple of films and a play since the movie ended, that I don’t believe I would have been able to do, that I would not have been the first choice for, if they’ve not seen my work on The Walking Dead. So, we’ll see if that continues moving forward, but it’s worked so far.
SUZANNE OF TVMEG.COM: Thank you. I’m looking forward to the Teen Wolf movie a lot, and I love seeing your Facebook posts.
SETH GILLIAM: Oh, thank you. Thank you. We have a lot of fun on Facebook, and Teen Wolf is going to be fantastic.
SUZANNE OF TVMEG.COM: I’m really looking forward to it.
SETH GILLIAM: Cool, thanks.
TONY TELLADO OF SCIFITALK: Unlike from an acting standpoint, because some of the group is still with the Commonwealth, and some of the group is on the outside, do you guys mention that to each other in passing or to kind of keep the integrity of both those kind of performances, not kind of acting, knowing in the back of your mind that you know where it’s going on their end? It’s a little convoluted question, but I’m just curious how you kind of stay in your own moments and not overlap?
ROSS MARQUAND: It’s interesting, because I think a lot of frustration, not like a genuine frustration, but just more like a shucks kind of frustration, that we’ve had this last season is that it’s been so chopped up in terms of groups. I mean, we’ve kind of fallen into these little cliques this last season, and I really haven’t hardly seen Lauren or Khari at all this season, I think. And I can’t say if I will in the last episode, but I’m barely seeing a lot of people that I usually work with, or would like to have worked with more. And it’s very interesting, because I feel like, of course, we get the scripts ahead of time, and we get to read what happens, but it is very interesting to just keep track of every different group and where they are and how they’re fitting into this giant storyline. I mean, Angela and Scott laid out this incredibly ambitious and very involved final season, and there’s just so much going on. I mean, it’s espionage and things falling apart, both internally in Commonwealth, and outside of it as well. Then, how do we fit into all these groups? Who do we trust? There’re a lot of moving parts, and that is a great question. I don’t think we’ve ever really had a a strong consensus to a large degree of where everyone is at all times, but we, of course, get the scripts, and that’s the only real clues that we have of where everybody is.
SETH GILLIAM: Well, you didn’t mean to infer or imply that you didn’t enjoy working with the actors that you were working and hooked up with this season.
ROSS MARQUAND: No, I mean, I mostly worked with you.
SETH GILLIAM: That’s why I need clarity.
ROSS MARQUAND: And I am implying [that]. I mostly worked with you
SETH GILLIAM: [laughs]
ROSS MARQUAND: So, I am, yes.
SETH GILLIAM: I just wanted to be clear. I just wanted to be clear. Yeah, it’s a lot to keep a track of. Ross is smarter when it comes to that kind of stuff than I am. I pretty much just learn my lines and hit my mark and hope that the editing would tell the story that that I was not taking on. I think there are so many things that you can concern yourself with as an actor to begin with, that when you start thinking of structure and minute plot details that aren’t directly related to you and your character in the moment, you can get a little lost planning ahead and missing the moment that you’re in. So, I did not undertake it, because as you know, as I said, I try to keep it simple, stupid.
LAUREN RIDLOFF: Yeah, I also wanted to say, like Seth, I have to say, just watching you and some of the actors and other cast members, it’s such an intuitive sense for you at this point. And I felt like so many of the cast members already know their character so well, that it didn’t quite matter what was happening in the script. At that point, they just know how their character would respond in that specific moment. I definitely looked up to that and tried to incorporate that into my character as much as I could. Just over the last three seasons, now she’s developed. It was challenging and confusing, especially this season, just because we’re doing so much cross boarding, and the rewrites were insane. The scripts kept changing. The sides we got were sometimes different day to day. So, just looking at, you know, Norman, and looking to the other experienced actors, and they would just roll with it, and I always tried my best to kind of follow the experience that they had, the veterans of the show, but then I started to realize that part of my confusion was natural. That naturally just contributed to the storyline for the final couple episodes, because it is confusing, and you can feel that people are confused, and I think that’s just real. For me, putting all of that together, it’s definitely like a puzzle, a huge jigsaw puzzle without seeing the actual photo on the box to see how it’s supposed to come together. So, we just have no idea. We’re just trying to search for the pieces that fit.
KHARY PAYTON: I think, at the end of the day, our job is to stay true to our character and their journey and that the pieces will come together, and sometimes it’s frustrating. Honestly, one of my favorite things is to frustrate the hell out of Greg Nicotero. They’re like, “I can’t do that.” You know damn, well Ezekiel can’t do that, And the beautiful, lovely exasperation of a man who is trying to please everyone, and I tear it all down, so we can build it back up. But seriously, our job is to stay in the moment, and the best thing that we can do, I think, for the production and for fellow cast mates when we’re standing across from each other, is give them a moment of truth that they can play off of, and, thankfully, one of the strengths of this show is that they have found people who give you truth when they’re playing these characters, and it’s awesome to see. It’s awesome to continue to be surprised by all of my cast mates, I mean, these three people here included. It’s humbling to be a part of a group of truth sayers in what many call “just a zombie show,” but there’s truth in this blood. Honestly, there’s usually truth in blood [laughs], but even in this fake blood
SETH GILLIAM: You lost me Khary. What the fuck are you talking about? What about blood? What the fuck are you talking about?
KHARY PAYTON: You know what? Next time I see you, we will have a drink my friend. I love you.
AMCN NOVEMBER STREAMING FEATURES TWD CONCLUSION AND DEBUTS OF AMC+ ORIGINAL GANGS OF LONDON S2 AND NEW BBCA SERIES MOOD
October 19, 2022
New York, NY – October 19, 2022 – This November, AMC Networks’ targeted streaming services will feature a number of highly anticipated series debuts and sendoffs, including the series finale of the pop cultural phenomenon The Walking Dead, along with a simulcast of the series’ epic finale event in Los Angeles and supersized, live Talking Dead, on November 20 at 9pm ET; the eagerly-awaited new season of AMC+ Original Gangs of London debuting November 17; the season finale of critically acclaimed Anne Rice’sInterview with the Vampire on November 6; the two-episode debut of BBC America’s Mood on November 6; and season finales of popular IFC Original series, Documentary Now! and Sherman’s Showcase, on November 9 and November 23, respectively.
This month also features new AMC+ exclusive film premieres rolling out every week, including French love triangle thriller starring Juliette Binoche, Both Sides of the Blade (November 4), sudsy comedy starring Rachel Bloom and Melissa Fumero, Bar Fight! (In theaters and on AMC+ November 11), Western murder mystery starring Gabriel Byrne and Thomas JaneMurder atYellowstone City (November 18), and Shudder Original film, Blood Relatives (November 22), from writer/director/star Noah Segan (Looper, Knives Out).
The company’s targeted streamers also set to bring viewers an extensive catalogue of compelling dramas, fan-favorite franchises, highly anticipated films and timely collections on AMC+, Acorn TV, ALLBLK, IFC Films Unlimited, Shudder and Sundance Now, and the newly acquired anime-focused HIDIVE, all month long.
The Walking Dead
Series Finale on AMC+ and AMC Sunday, November 20 at 9pm ET
After 11 seasons of survival, it all comes down to this as the television legacy concludes its epic run. Witness The Walking Dead series finale along with an exclusive look at red carpet arrivals, props, costumes, and a live taping of the Talking Dead where special guests will reveal what’s ahead in The Walking Dead Universe.
About AMC Networks:
AMC Networks (Nasdaq: AMCX) is a global entertainment company known for its popular and critically-acclaimed content. Its brands include targeted streaming services AMC+, Acorn TV, Shudder, Sundance Now, ALLBLK, and the newest addition to its targeted streaming portfolio, the anime-focused HIDIVE streaming service, in addition to AMC, BBC AMERICA (operated through a joint venture with BBC Studios), IFC, SundanceTV, WE tv and IFC Films. AMC Studios, the Company’s in-house studio, production and distribution operation, is behind some of the biggest titles and brands known to a global audience, including The Walking Dead, the Anne Rice catalog and the Agatha Christie library. The Company also operates AMC Networks International, its international programming business, and 25/7 Media, its production services business.
Interview with Brooke Elliott, Brandon Quinn and Danny Pintauro of “A Country Christmas Harmony” on Lifetime by Suzanne 11/7/22
This is an enjoyable movie, but I really hate the title. The big song in the movie is called “Sweet Sixteen Christmas,” so that should have been the title. Perhaps they thought it would be confusing, since there are no teens in the movie? I don’t know. But please don’t let the forgettable title deter you from watching this. It really has very little to do with country music, even though the main character, Chrissy (played so well by Brooke Elliott) is supposed to be a Nashville star. The music doesn’t sound very countrified to me.
It was great to speak to the actors. You may remember Brooke from her previous Lifetime series “Drop Dead Diva,” or her current show, “Sweet Magnolias” on Netflix. Her co-star in the latter, Brandon Quinn, also stars in this movie with her as Luke – the guy she left behind. Danny Pintauro is most known for his role as a teen on “Who’s the Boss” years ago. In this new movie, he’s going back into acting. He does a fine job, but it’s a fairly small role. It was interesting to hear him talk about his life and how it led to this movie.
Before Chrissy Kessler’s (Brooke Elliott) meteoric rise to fame, the country music superstar was just a small-town girl with dreams of the big time. Now, with her record sales on a rapid decline, Chrissy is strong-armed by an unrelenting record executive to return to the hometown she left behind to perform a live Christmas concert. Accompanying her on this journey is her longtime supportive assistant Eugene (Danny Pintauro). Luke Covington’s (Brandon Quinn) quiet life is suddenly disrupted when he runs into Chrissy, his ex-girlfriend and former country music duo partner, who disappeared on him to pursue her solo career all those years ago. After a tempestuous rainstorm forces the ex-sweethearts to seek shelter in Luke’s ranch home, the two realize that the only way they’ll survive the holidays is with the other’s help.
A Country Christmas Harmony is produced by MarVista Entertainment and The Ninth House. Megan Ellstrom, Larry Grimaldi, Hannah Pillemer and Fernando Szew Executive Produce for MarVista Entertainment, and Autumn Federici and Jake Helgren Produce for The Ninth House. Brooke Elliott also serves as Executive Producer. Gary Entin and Edmund Entin write and direct.
Interview with Noah Wyle, Gina Bellman, Beth Riesgraf and Aleyse Shannon of “Leverage” on Freevee by Suzanne 11/2/22
I always enjoy speaking with the actors from this great show! This was my first time speaking with Noah Wyle, who joined last season. Note that there are three different short interviews below. Season 2 drops on Free Nov. 16. I’ve seen the first three episodes, and they were even better than last season. I hope you enjoy them as much as I did!
Noah Wyle (Harry)
I’ve enjoyed most of Noah’s roles in “ER,” “Falling Skies” and “The Librarian,” so it was awesome to speak with him. I felt like he was not in the best mood (I’m sure it must be exhausting to go through so much press each time), but he definitely warmed to me.
Beth Riesgraf (Parker) and Aleyse Shannon (Breanna)
These two were in great spirits and fun to speak with. They shared the wonderful news about Aldis being in more episodes this season.
Gina Bellman (Sophie)
Gina was lovely to speak with. Unfortunately, the audio and video was not the best quality. I hope you can enjoy it, anyway!
MORE INFO:
Amazon Freevee’s Hot Heist Drama Series Leverage: Redemption Returns on November 16 Exclusively in the U.S. and UK
Sep 29, 2022
The official Season Two trailer and key art now available
WATCH THE TRAILER HERE
CULVER CITY, California—September 29, 2022— Amazon Freevee announced today the return of its fan-fueled heist drama Leverage: Redemption premiering on November 16 exclusively in the U.S. and UK. Leverage: Redemption follows a Robin Hood-esque team of criminals as they stage elaborate cons against wealthy and powerful individuals on behalf of clients who have been wronged. The second season consists of 13 episodes with the first three episodes available immediately and a new episode releasing each Wednesday until the season finale on January 25, 2023. The fan-favorite first season of Leverage: Redemption is also available on demand and as a FAST channel on Amazon Freevee.
In Season Two, corporate bad guys and dirty dealers are stepping on the little guy in their quest for money and power and the Leverage team is back to teach them a lesson. No matter the danger, when someone needs help, they provide…Leverage. This time around, their criminal skills are put to the test by everything from a husband-and-wife team running a multi-level marketing scam and a shipping magnate dumping boatloads of plastic waste to a music producer who abuses his position over vulnerable women. This season also sees an old friend of Sophie’s unexpectedly coming out of the woodwork, making her question her choices.
Leverage: Redemption stars Gina Bellman as Sophie Devereaux, Beth Riesgraf as Parker, Christian Kane as Eliot Spencer, Aldis Hodge as Alec Hardison, Noah Wyle as Harry Wilson, and Aleyse Shannon as Breanna Casey. Season Two guest stars include Pierson Fodé, Alanna Masterson, Anand Desai-Barochia, Steve Coulter, and Doug Savant.
Kate Rorick serves as co-showrunner and executive producer, alongside co-showrunner and executive producer Dean Devlin, and executive producers Marc Roskin and Rachel Olschan-Wilson of Electric Entertainment. John Rogers and Chris Downey served as consulting producers.
About Electric Entertainmen Headquartered in Los Angeles, Electric Entertainment is an independent studio headed by veteran producer Dean Devlin along with his partners Marc Roskin and Rachel Olschan-Wilson. Electric Entertainment also houses acquisitions and sales divisions, with domestic sales headed up by Steve Saltman and the international division headed by Sonia Mehandjiyska. Electric also has a satellite office located in Vancouver, Canada.
Among Electric’s hit television series are The Librarians and Leverage, which ran for four and five seasons respectively on TNT, The Outpost, which premiered its fourth season on The CW in 2021, and is now streaming on Amazon Freevee, and Almost Paradise, which is currently streaming on Amazon Freevee after having premiered on WGN America. Season two of Almost Paradise is currently in production. Electric’s new series The Ark is currently in post-production for the SYFY Channel. Electric’s spin-off continuation of Leverage,Leverage: Redemption, is currently streaming in the U.S. and the U.K. on Amazon Freevee, as one of the service’s first original programs.
Electric’s Feature Films have included Bad Samaritan starring David Tennant and Robert Sheehan, the award-winning film Say My Name starring Lisa Brenner and Nick Blood, the critically acclaimed documentary Who Killed the Electric Car?, and most recently The Deal starring Sumalee Montano and Emma Fischer. Electric also acquires, distributes and sells worldwide rights to Electric’s produced and acquired content, as well as theatrical films from around the world, including Blood On The Crown, starring Harvey Keitel and Malcolm McDowell, Heavy, starring Sophie Turner and Daniel Zovatto, Rob Reiner’s historical biopic LBJ, starring Woody Harrelson, and Book Of Love, starring Jessica Biel and Jason Sudeikis. The company’s domestic distribution division, headed by Steve Saltman, is a full-service operation serving all significant outlets with various rights to films and series including: TVOD, EST, AVOD, SVOD, PTV, Linear Basic Cable and Broadcast.
Amazon Freevee, formerly IMDb TV
Amazon Freevee is a free ad-supported streaming video service with thousands of premium movies and TV shows, including Originals and FAST channels, available anytime, for free.
Expansive Catalog: Amazon Freevee offers viewers ambitious Originals, including Bosch: Legacy; Emmy-winning court program Judy Justice; reality design series Hollywood Houselift with Jeff Lewis; comedy series Sprung; music documentary Post Malone: Runaway; heist drama Leverage: Redemption; spy thriller Alex Rider; and the sports docuseries UNINTERRUPTED’s Top Class: The Life and Times of the Sierra Canyon Trailblazers. Combined with an always updating library of broadly appealing hit movies and TV shows across a wide selection of genres, and a catalog of more than 100 FAST channels, Freevee delivers customers the content they would expect to see on a paid service.
Free: The entire catalog of content on the service is free. No paid subscriptions necessary.
Instant Access: Freevee is available as an app on Fire TV, Fire Tablets, and as a free Channel within Prime Video, across hundreds of devices. Freevee content can also be accessed within the “Free with Ads” tab and “Live TV” tab on Prime Video. Freevee is available as an app on third party devices including Roku, Samsung smart TVs (2017-2021 models), Apple TV 4K, Apple TV HD, Comcast’s Xfinity Flex, Xfinity X1, Chromecast with Google TV, NVIDIA SHIELD and other Android TV devices, Xbox One, Xbox Series X|S, PlayStation 4 and PlayStation 5 consoles, as well as LG Smart TVs (2018-2021 models). The app is also available on iPhone, iPad, and Android mobile devices.
Ep 201 – The Debutante Job (Premieres 11/16)
Logline: The team pulls Harry back into the fold to help a journalist investigating the corrupt president of a small eastern European nation. But when the journalist is grabbed, our team has to infiltrate a London Ball to extract him.
Ep 202 – The One Man’s Trash Job (Premieres 11/16)
Logline: The crew finds out that a shady plastics exporter whose dumping threatens local waters is smuggling black market antiquities on his barges, and plots to relieve him of his ill-gotten gains.
Ep 203 – The Tournament Job (Premieres 11/16)
Logline: The team has to infiltrate an e-sports tournament to stop a ruthless team owner from mentally and physically abusing his young players.
Noah Wyle
Harry Wilson
Noah Wyle is an actor, writer, producer and director. He is a multiple Emmy, Golden Globe and SAG Award nominee and winner best known for his work throughout twelve seasons on NBC’s celebrated and critically acclaimed medical drama ER. In his role as Dr. John Carter, Wyle became known to audiences worldwide. Wyle recently wrapped a starring role in Leverage: Redemption for IMDb TV, Amazon’s free streaming service.
Most recently, Wyle starred in Ava DuVernay & Greg Berlanti’s limited series The Red Line for CBS. His work garnered him a Critics Choice Award for Best Actor in a Limited Series. Wyle’s other recent work includes Matthew Weiner’s The Romanoffs, TNT’s critically acclaimed sci-fi series Falling Skies and his long-running TNT series The Librarians, on which he also served as an Executive Producer.
Wyle’s credits include the critically acclaimed roles as Steve Jobs in the Emmy-nominated Pirates of Silicon Valley for TNT. He starred in Oliver Stone’s 2008 drama W in the role of Secretary of Commerce Don Evans. Wyle appeared in the Rod Lurie-directed drama Nothing But the Truth alongside Angela Bassett and Kate Beckinsale. In 2009, he was seen in William Olsson’s An American Affair, which starred Gretchen Mol. He also starred in and associate-produced The Myth of Fingerprints for director Bart Freundlich. Wyle’s additional feature film credits include Warner Brothers’ White Oleander, Columbia Pictures’ Enough, Donnie Darko, Swing Kids and Aaron Sorkin & Rob Reiner’s A Few Good Men.
Gina Bellman
Sophie Devereaux
Gina Bellman is a New Zealand-born British actress known for her work on both sides of the Atlantic. Bellman has recently reprised her leading role in the exciting new season of Leverage: Redemption for IMDb TV, produced by Amazon Studios and Electric Entertainment.
The original five seasons of Leverage for TNT earned her a Saturn Award Best Supporting Actress nomination and a passionate fanbase as the glamorous and ingenious grifter Sophie Devereaux.
Recent roles include Karen in NBC’s Emerald City and crime boss Elena Markedis in the critically acclaimed Sky series Bulletproof alongside Noel Clarke and Ashley Walters.
She starred opposite James Nesbit in the BBC, Golden Globe-nominated limited series Jekyll, and has a cult following for her portrayal of Crazy Jane in the multi-award-winning comedy series Coupling – both written by Steven Moffat.
Her television work includes leading roles and guest appearances in many productions such as Henry IX, Ripper Street, The Wrong Door, Waking the Dead, Hotel Babylon, Jonathan Creek, Ted and Ralph, Only Fools and Horses and Blackeyes.
Film roles include – Permanent Vacation, Zerophilia, Sitting Ducks, Pressure Points, Married Unmarried, Seven Days to Live, Paranoia, Silent Trigger, Everything I Like, Secret Friends, Leon the Pig Farmer and King David.
Bellman has appeared regularly at the Royal National Theatre in award-winning productions such as The Crucible: director Mike Leigh’s Two Thousand Years: Cleo, Camping, Emmanuelle & Dick and From Morning to Midnight. Her West End theatre includes The Rocky Horror Show, Hamlet, Speed the Plow, Twilight of the Golds and Orson’s Shadow, in which she played the part of Vivian Leigh and as Marilyn Monroe in Insignificance.
Bellman appears regularly at Literary festivals reading poetry and is a repertory performer with educational charity Word Theatre.
Beth Riesgraf
Parker
Beth Riesgraf is best known for starring in TNT’s award-winning drama, Leverage opposite Timothy Hutton, Gina Bellman, Aldis Hodge and Christian Kane; and in USA’s Complications opposite Jason O’Mara, Jessica Szohr, Gregory Fears and Lauren Stamile. Riesgraf recently starred in the CBS All Access show 68 Whiskey, produced by Brian Grazer and Ron Howard. She will reprise her role as Parker in the reimagination of Leverage: Redemption for IMDb TV. She also directed multiple episodes for the upcoming series.
Riesgraf’s other notable TV credits include a recurring role in Stranger Things and as Dr. Maeve Donovan on Criminal Minds. She has guest-starred on numerous shows, including Seal Team, The Mentalist, My Name is Earl, Without a Trace, NCIS, Killer Woman, Perception, The Librarians and How I Met Your Mother.
On the big screen, Riesgraf was last seen in In Search of Fellini opposite Maria Bello and Ksenia Solo. Her previous credits include starring opposite Rory Culkin, Martin Starr and Jack Kesy in Shut In; the silent independent film The White Door opposite Giovanni Ribisi, which she also co-produced; the feature film Alvin and the Chipmunks; and the independent films Nobody and Let’s Be Civil Kenneth. She can also be seen in the web series Caper opposite Harry Shum Jr., Abby Miller and Hartley Sawyer on the Geek & Sundry channel.
Aleyse Shannon
Breanna Casey
Aleyse Shannon will soon be seen starring in Netflix’s anticipated Feature Film Beauty, written by Lena Waithe and directed by Andrew Dosunmu. She recently wrapped production as a series regular on IMDb TV’s Leverage: Redemption. Shannon starred alongside Imogen Poots in Sophia Takal’s Blumhouse-remake of Black Christmas. She received her BFA from the prestigious Carnegie Mellon University. Immediately upon graduating, Shannon had booked a season-long arc in the first season of CW’s reboot of Charmed, a fun guest lead on CW’s Anthology Series Night Time, and a supporting role in the feature Inez & Doug & Kira, directed by Julia Kots.
Credits
Co-Showrunners and Executive Producers
Kate Rorick
Dean Devlin
Executive Producers
Marc Roskin and Rachel Olschan-Wilson of Electric Entertainment
Consulting Producers
John Rogers
Chris Downey
Cast
Gina Bellman
Christian Kane
Beth Riesgraf
Aleyse Shannon
Noah Wyle
Aldis Hodge
Interview with Showrunner Terry Winter, Executive Producer David C. Glasser, and Executive Producer/actor Sylvester Stallone, and actors Andrea Savage, Martin Starr, Jay Will and Garrett Hedlund of “Tulsa King” on Paramount+ by Suzanne 9/21/22
I really enjoyed this virtual panel. It was for the Television Critics Association, and I was so lucky to be chosen as the first to ask a question, which is always great (sometimes I’m lucky if I get even one question on these big panels). I loved being able to talk to Sylvester Stallone, who stars in this show. I admit that it would have felt weird to call him either “Sylvester” or “Sly,” so I addressed him as “Mr. Stallone.” The other reporters must have liked that idea, because from then on, they called him that as well.
TULSA KING: A New Original Series with an Unconventional Twist
Virtual Panel Discussion Unveils Exciting Details about the Highly Anticipated Paramount+ Show
TULSA KING, September 21, 2022 – The Paramount+ original series TULSA KING is set to captivate audiences with its unique blend of genres and compelling storytelling. During a virtual panel discussion via Zoom, the show’s executive producer, showrunner, and writer, Terence Winter, along with executive producer David Glasser, executive producer and Academy Award nominee Sylvester Stallone, and the talented cast members Andrea Savage, Martin Starr, Jay Will, and Garrett Hedlund, shared insights and anecdotes about the upcoming series.
The panel began with Kate Mann, a member of the Paramount+ publicity team, expressing gratitude to Andrea Savage for joining despite her battle with COVID-19. After a lighthearted exchange about the different degrees of COVID, the discussion delved into the world of TULSA KING.
Terence Winter provided an overview of the show’s premise, introducing Dwight “The General” Manfredi, a seasoned New York mob capo. Released from prison after 25 years, Dwight expects compensation for his loyalty and sacrifices. However, he is unexpectedly sent to Tulsa, a place that feels worlds apart from his familiar surroundings. Tasked with rectifying past mistakes, rebuilding his life, and forming an unconventional crew, Dwight faces an existential journey in an unfamiliar setting.
The panelists engaged in a lively Q&A session, offering valuable insights into their experiences and the show’s unique elements. Sylvester Stallone, who plays Dwight “The General” Manfredi, spoke about his involvement in the show and the immediate connection he felt with the project when approached by Taylor Sheridan, the show’s creator. Stallone praised the fast-paced nature of television production and highlighted the endurance and dedication of the crew.
Stallone answered my question about how he became involved in the show: “It’s kind of interesting because I met {creator Taylor Sheridan] a while back, actually riding horses in California. And he was just working on ‘Sicario’ at the time, and I wanted him to write the screenplay for ‘Rambo’ because I was getting lazy. Anyway, we moved on in life. And then he became very, very successful with… ‘Yellowstone.’ And one day, he just had this idea, called me up, pitched it to me in like three seconds. I went, “I’m in.” It was very fast.”
When asked about the appeal of playing a gangster and being a storyteller in that world, Stallone emphasized his long-standing fascination with the genre and his desire to portray a different type of gangster character. He described Dwight as an educated individual who appreciates the classics and possesses a unique set of traits not typically associated with gangster portrayals.
The cast members also shared their thoughts on the show and their respective characters. Andrea Savage expressed her excitement about working in a new world and highlighted the multi-dimensional nature of Dwight’s character. Martin Starr discussed his departure from his usual roles and the intriguing dynamics his character experiences when encountering Dwight. Jay Will expressed his appreciation for the relatability of his character’s journey of self-discovery, while Garrett Hedlund highlighted the unique bond between his character and Stallone’s character.
Throughout the discussion, Terence Winter emphasized the departure from traditional gangster narratives and the infusion of different genres. He described the show as a blend of the western and gangster genres, bringing together two tried-and-true themes to create an entirely new and captivating experience for viewers.
David Glasser, another executive producer, discussed the choice of Tulsa as the setting for the series. He explained that Tulsa provided the perfect backdrop for Dwight’s journey, as it contrasts significantly with his New York origins. Glasser praised the location’s wide-open spaces and distinct atmosphere, which helped immerse the audience in a new and unfamiliar world.
As the panel came to a close, the cast members expressed their hopes for the series. Garrett Hedlund and Jay Will emphasized the uniqueness and relatability of the show, while Martin Starr highlighted the dark comedy infused throughout the series. Andrea Savage praised the vulnerability and humor brought by Stallone’s portrayal of Dwight, while Stallone himself hoped that audiences would perceive the show as a departure from traditional mob narratives and find resonance in the characters’ stories.
The virtual panel left audiences eagerly anticipating the premiere of TULSA KING on November 13th, exclusively on Paramount+. With its unconventional blend of genres, captivating storytelling, and a stellar cast, the series promises to be an enthralling addition to the television landscape.
MORE INFO:
PARAMOUNT+ DEBUTS TEASER TRAILER FOR NEW ORIGINAL SERIES “TULSA KING” STARRING ACADEMY AWARD® NOMINEE SYLVESTER STALLONE
PARAMOUNT+ DEBUTS TEASER TRAILER FOR NEW ORIGINAL SERIES “TULSA KING” STARRING ACADEMY AWARD® NOMINEE SYLVESTER STALLONE
Creator and Academy Award Nominee Taylor Sheridan Serves as Executive Producer Alongside Academy Award Nominee and Emmy Award® Winner Terence Winter
“Tulsa King” Premieres Nov. 13 on Paramount+; Paramount Network to Air Episodes 1 and 2 on Nov. 20 Following an All-New Episode of “Yellowstone”
Produced by MTV Entertainment Studios and 101 Studios
Paramount+ today released the teaser trailer for the upcoming original series TULSA KING, starring Academy Award® nominee Sylvester Stallone. Creator and Academy Award nominee Taylor Sheridan serves as executive producer alongside Academy Award nominee and Emmy Award® winner Terence Winter (“The Sopranos,” “The Wolf of Wall Street”), who also serves as showrunner and writer. Produced by MTV Entertainment Studios and 101 Studios, TULSA KING will premiere with two episodes on Sunday, Nov. 13 on Paramount+.
TULSA KING follows New York mafia capo Dwight “The General” Manfredi (Stallone) just after he is released from prison after 25 years and unceremoniously exiled by his boss to set up shop in Tulsa, Okla. Realizing that his mob family may not have his best interests in mind, Dwight slowly builds a crew from a group of unlikely characters, to help him establish a new criminal empire in a place that to him might as well be another planet.
The series also stars Andrea Savage (“I’m Sorry”), Max Casella (“The Tender Bar”), Martin Starr (“Silicon Valley”), Domenick Lombardozzi (“The Irishman”), Vincent Piazza (“Boardwalk Empire”), Jay Will (“The Marvelous Mrs. Maisel”), A.C. Peterson (“Superman & Lois”) with Garrett Hedlund (“The United States vs. Billie Holiday”) and Dana Delany (“Body of Proof”).
Paramount Network will host a linear airing of TULSA KING’s first two episodes on Sunday, Nov. 20, immediately following a new episode of YELLOWSTONE. All remaining episodes will be available to stream weekly on Sundays, exclusively on Paramount+. TULSA KING will also premiere on Paramount+ in Canada on Nov.13, followed by a premiere in Australia and the U.K. on Monday, Nov. 14. The series will air later this year on Paramount+ in Latin America and in additional territories upon the launch of the service.
The series is executive produced by Taylor Sheridan, Terence Winter, Sylvester Stallone, David C. Glasser, Ron Burkle, Bob Yari, David Hutkin, Allen Coulter and Braden Aftergood.
TULSA KING is the latest addition to Sheridan’s growing slate on Paramount+, which includes 1883, MAYOR OF KINGSTOWN and the upcoming series 1923, BASS REEVES, LIONESS and LAND MAN.
About Paramount+
Paramount+, a direct-to-consumer digital subscription video on-demand and live streaming service, combines live sports, breaking news and a mountain of entertainment. The premium streaming service features an expansive library of original series, hit shows and popular movies across every genre from world-renowned brands and production studios, including BET, CBS, Comedy Central, MTV, Nickelodeon, Paramount Pictures and the Smithsonian Channel. The service is also the streaming home to unmatched sports programming, including every CBS Sports event, from golf to football to basketball and more, plus exclusive streaming rights for major sports properties, including some of the world’s biggest and most popular soccer leagues. Paramount+ also enables subscribers to stream local CBS stations live across the U.S. in addition to the ability to stream CBS News Network for 24/7 news and CBS Sports HQ for sports news and analysis.
Interview with Executive Producers Bruce Helford and Debby Wolfe, and actors George Lopez, Selenis Leyva, Mayan Lopez, Al Madrigal, and Matt Shively of “Lopez vs. Lopez” on NBC by Suzanne 9/15/22
I enjoyed speaking with these actors because they’re all very funny. Because it was a TCA panel, I was only able to ask one question, so I chose to ask George and Maya what it was like to work with each other (since they’re father and daughter in real life). I would have loved to chatted with Al as well. It’s a pretty funny sitcom, and it’s based on their real lives. For some reason, George was wearing sunglasses during the entire interview. I thought that was strange, since we were all indoors.
NBC UNIVERSAL 2022 TCA PRESS TOUR
LOPEZ VS. LOPEZ
Selenis Leyva, Talent
George Lopez, Talent/Executive Producer
Mayan Lopez, Talent/Producer
Al Madrigal, Talent
Matt Shively, Talent
Bruce Helford, Executive Producer
Debby Wolfe, Showrunner/Executive Producer
In a virtual press conference via Zoom at the NBC Universal 2022 TCA Press Tour, the cast and producers of the upcoming series “Lopez vs. Lopez” gathered to discuss the highly-anticipated show. The talent-filled panel included Selenis Leyva, George Lopez, Mayan Lopez, Al Madrigal, Matt Shively, Bruce Helford, and Debby Wolfe, who shared insights into the show’s creation, its autobiographical elements, and the significance of representation in the Latinx community.
“Lopez vs. Lopez” is a working-class family comedy that delves into themes of dysfunction, reconnection, and the rollercoaster of emotions that come with family dynamics. The series is set to premiere on Friday, November 4th, at 8 p.m. on NBC, with subsequent episodes streaming on Peacock the following day.
During the panel, a clip from “Lopez vs. Lopez” was shown, giving the press a glimpse of the show’s humor and heart. The cast and producers, seated in two rows on the Zoom call, were ready to answer questions and discuss their experiences working on the series.
Mayan Lopez, who plays a version of herself on the show, was asked about the autobiographical elements of her character and the similarities to her real-life relationship with her father, George Lopez. Mayan shared that her parents divorced about ten years ago, and there was a period of estrangement between her and her father for approximately three years. However, the pandemic brought them back together, and they started creating TikToks as a way to reconnect. This eventually led to the birth of the idea for “Lopez vs. Lopez.” Mayan emphasized that while her character’s story reflects her own experiences, it also draws from the stories of the show’s writers and explores the cultural aspects of Latino parent-child relationships.
George Lopez, both talent and executive producer on the show, was asked about the differences between “Lopez vs. Lopez” and his previous show, “George Lopez.” He highlighted the evolution of comedy, changes in social media, and the availability of talented actors, making the production process easier. Bruce Helford, executive producer, added that the casting landscape has changed significantly, allowing for more diverse and talented performers, particularly within the Latinx community.
Debby Wolfe, showrunner and executive producer, praised George Lopez and his previous show for paving the way for Latinx talent and opening doors for diverse stories. She emphasized that “Lopez vs. Lopez” continues that legacy, bringing together a talented cast and crew to share authentic and relatable experiences.
Selenis Leyva, who plays a fictionalized version of a real person in the show, spoke about her approach to the role and the blending of her own experiences with the character. She highlighted the complexity and talent of George Lopez and Mayan Lopez, emphasizing that while they play versions of themselves, their performances require depth and skill. Debby Wolfe clarified that Selenis’ character, Rosie, is a fictionalized blend of various Latina moms, drawing inspiration from her own mother and other Latina writers in the room.
The panel also discussed the unique experience of working with family members. Mayan expressed gratitude for the opportunity to work alongside her father and called it a gift and a once-in-a-lifetime experience. George Lopez shared his admiration for the talented cast and the joy of being able to work with his daughter. The show’s executive producer, Bruce Helford, praised the genuine connection between George and Mayan on and off-screen, noting that their real-life bond shines through their performances.
Matt Shively, another cast member, discussed his role as Quinten on the show and how it differs from his previous comedic roles. He mentioned the emotional depth required for his character and expressed gratitude for the opportunity to work with the talented ensemble.
Throughout the panel, the importance of representation in the Latinx community was a recurring theme. Debby Wolfe acknowledged the progress made in recent years but stressed the need for further advancements in on-screen and behind-the-scenes representation. She highlighted the responsibility of “Lopez vs. Lopez” to tell authentic stories and open doors for Latinx talent.
In conclusion, the cast and producers expressed their excitement for “Lopez vs. Lopez” and its potential to resonate with audiences, sparking conversations and connections within their own families. They recognized the significance of being part of a show that represents the Latinx community while telling universal stories of flawed, yet loving families.
“Lopez vs. Lopez” is poised to make its mark as a groundbreaking comedy, continuing the legacy set by George Lopez and opening doors for diverse storytelling and representation on television.
MORE INFO:
George Lopez is back in primetime and this time he’s bringing his real-life daughter, Mayan. This hilarious and heartwarming comedy tells the story of a working-class old-school Latino who moves in with his modern Gen Z daughter as they rebuild their dysfunctional relationship one argument at a time. It’s old vs. new, father vs. daughter, Lopez vs. Lopez.
“Lopez vs Lopez” is produced by Universal Television, a division of Universal Studio Group in association with Mohawk Productions, Travieso Productions, Mi Vida Loba and 3 Arts.
George Lopez
George Lopez/Executive Producer, “Lopez vs. Lopez”
George Lopez plays himself and executive produces the new NBC comedy “Lopez vs. Lopez.”
Lopez has broken ground for Latino comics by embracing his ethnicity, confronting racial stereotypes, and fighting for his community on and off the stage. He will join the DC universe in 2023 in the superhero film “Blue Beetle.”
Lopez’s “OMG Hi!” comedy tour concluded in the fall. He has four HBO specials on his resume: “The Wall” (2017), “It’s Not Me, It’s You” (2012), “Tall, Dark and Chicano” (2009), which was nominated for a Best Comedy Album Grammy Award, and “America’s Mexican” (2007).
On television, Lopez produced and starred in “Lopez,” a semi-autobiographical single camera sitcom for two seasons on TV Land. In 2014, Lopez co-created and starred in the multi-camera ensemble comedy “Saint George” for FX. He hosted TBS’ inaugural late-night talk show, “Lopez Tonight,” for two seasons, marking Lopez’s return to series television after co-creating, writing, producing and starring in ABC’s groundbreaking hit sitcom “George Lopez,” which ran for six seasons.
Lopez’s extensive film credits include “Walking with Herb,” “Western No Man’s Land,” “The Tax Collector,” “El Chicano,” “Valentine’s Day,” “The Spy Next Door” and “The Adventures of Sharkboy and Lavagirl.” He starred in and produced the inspirational drama “Spare Parts,” based on a true story about four undocumented Mexican-American teens who team up to build a robot for a national competition. Lopez has lent his voice to a string of animated films, including “Rio,” “Smurfs,” “Beverly Hills Chihuahua” and the “Cats & Dogs” franchises.
In May 2004, Lopez’s autobiography “Why You Crying?” earned a spot on The New York Times Bestseller Top 20 List. Lopez released his second memoir in 2013, “I’m Not Gonna Lie and Other Lies You Tell When You Turn 50.”
Time magazine named him one of the 25 Most Influential Hispanics in America in 2005 and the Harris Poll named him one of the Top Ten Favorite Television Personalities. The following year, Lopez received a star on the Hollywood Walk of Fame.
Mayan Lopez, “Lopez vs. Lopez”
Mayan Lopez plays Mayan Lopez on the new NBC comedy “Lopez vs. Lopez.”
Lopez, who is an actress, producer and Tik Tok influencer, grew upon the set of the hit television series “George Lopez,” which started filming when she was 5 years old.
To help launch her career, Lopez received extensive training at the Conservatory Program at Second City Chicago and Columbia College Chicago’s Comedy Writing and Performance Program. She honed her improv skills while performing with various improv troupes late at night at Second City after the Main Stage shows and also did voiceover work for the local Chicago and regional Midwest market.
Lopez left Chicago and returned to Los Angeles just as the pandemic struck. In quarantine and with no auditions, she started to do Tik Tok videos as a creative outlet and her account took off.
Her other credits include “Handsome: A Netflix Murder Mystery,” “Other People,” “Jersey,” “Mr. Troop Mom” and “George Lopez.”
Selenis Leyva
Rosie “Lopez vs. Lopez”
Selenis Leyva portrays Rosie on the new NBC comedy “Lopez vs. Lopez.”
Leyva is best known for her co-starring role on the Netflix hit series “Orange Is the New Black” and in the Disney+ original “Diary of a Future President.” For her work on the latter, she won a 2021 Gracie Award, which honors standout women in entertainment and news programming that addresses timely topics and social issues.
Up next, Leyva will star alongside John Boyega and Connie Britton in the drama “Breaking,” which opens in theaters Aug. 26. Leyva and her “Breaking” cast won the Special Jury Award for Ensemble Cast in the U.S. Dramatic Competition at this year’s Sundance. She will also star alongside Michael B. Jordan in the highly anticipated “Creed III,” opening Nov. 23. Leyva recently wrapped production on the HBO Max comedy series “Gordita Chronicles,” which will chronicle the life of a 12-year-old Dominican girl who struggles to fit into 1980s Miami as her family pursues the American dream.
Matt Shively
Quinten, “Lopez vs. Lopez”
Matt Shively plays Quinten on the new NBC comedy “Lopez vs. Lopez.”
Following high school, Shively launched his career in 2008 with a role on Nickelodeon’s “True Jackson VP.” In addition to a series regular role on the ABC comedy “The Real O’Neals,” other prominent series in which Shively has appeared include “The Purge,” “American Housewife,” “Santa Clarita Diet,” “Teen Wolf,” “CSI,” “Aquarius,” “SMILF,” “Me, Myself and I,” “The Resident,” “Last Man Standing” and “Grand Hotel.”
On the film side, Shively made his way to the big screen in 2012 in “Paranormal Activity 4.” Other movies on his resume include “Power Rangers,” “Father of the Year,” “The Wedding Year,” “Bucky and the Squirrels,” “Expelled,” “Underwater Upside Down” and “Mark, Mary + Some Other People.”
Last year Shively joined the cast “Players,” Paramount+’s upcoming esports series.
Al Madrigal
Oscar, “Lopez vs. Lopez”
Al Madrigal plays Oscar on the new NBC comedy “Lopez vs. Lopez.”
Madrigal’s film credits include “The Way Back” with co-star Ben Affleck. He’s has also been seen in “Night School,” alongside Kevin Hart and Tiffany Haddish; “Morbius,” alongside Jared Leto; and “Hollywood Stargirl,” opposite Judy Greer and Uma Thurman.
On television, Madrigal is best known as the senior Latino correspondent on “The Daily Show with Jon Stewart,” a series regular and writer on Showtime’s “I’m Dying Up Here” and served as a writer, actor, and producer on the CBS show “Broke.”
Madrigal and fellow comedian Bill Burr co-founded All Things Comedy, which is a leading comedy podcast network featuring shows hosted by some of the industry’s top comedians that has over 15 million listeners and 50+ shows.
Bruce Helford
Executive Producer, “Lopez vs. Lopez”
Bruce Helford is the supervising writer and an executive producer on the new NBC comedy “Lopez vs. Lopez.”
Helford co-created “The Drew Carey Show” and served as executive producer for its entire run from 1995-2004. He also created or co-created “The Norm Show,” “Wanda at Large,” “Freddie,” “George Lopez,” “Nikki,” “Bless This House,” “The Oblongs,” “Anger Management” and “Kevin Can Wait.”
After serving as executive producer and head writer on the fifth season of “Roseanne” in 1992, he returned as executive producer and head writer for the revival and series spinoff, “The Conners.”
Debby Wolfe
Executive Producer, “Lopez vs. Lopez”
Debby Wolfe is the showrunner and an executive producer on the new NBC comedy “Lopez vs. Lopez.”
Wolfe’s other credits include “The Conners” for ABC, “Primo” for Freevee, “Love, Victor” for Hulu and “One Day at a Time” for Netflix. She previously had development at Amazon, Disney+ and CBS.
Her award-winning short films have screened in festivals worldwide, including Tribeca, NBC Universal Short Cuts, the BET Urbanworld Film Festival and the HBO NYC Latino Film Festival.
Despite her many accomplishments in comedy, Wolfe’s Salvadorian mother still doesn’t think she’s funny. Her Jewish father says he could do her job better.
Interview with Luke Matheny (Executive Producer) and Andrew Orenstein (Producer) of “Ghostwriter” on Apple TV+ by Suzanne 10/13/22
This is a very interesting show aimed at children, but it’s fun to watch for adults who like fantasy and magic as well. I enjoyed speaking with both the kid stars and these producers. Don’t miss this show’s season 3 return, especially if you have kids.
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When a ghost haunts a neighborhood bookstore and starts releasing fictional characters into the real world, a group of friends work to solve an exciting mystery surrounding the ghost’s unfinished business.
The Emmy Award-winning series, which has also earned a highly coveted Prix Jeunesse Award, a Parents’ Choice Gold Medal Award and recognition from Common Sense Media since its debut, was developed for television by J.J. Johnson and Andrew Orenstein with Academy Award-winning and DGA Award-nominated Luke Matheny directing five episodes from the season. Matheny and Orenstein executive produce alongside Johnson, Christin Simms, and Blair Powers for Sinking Ship Entertainment and Kay Wilson Stallings for Sesame Workshop.
Interview with actors from “Acapulco” on Apple TV+ by Suzanne 10/13/22
This is a great show! I had fun watching the first and second season. I’m sure you will enjoy it as well. I hope they get a third season. It’s just a funny show with great writing and acting. Check it out! Season 2 starts 10/21. I hope you enjoy these interviews as much as I did.
Interview with Enrique Arrizon (Maximo) and Fernando Carsa (Memo)
Interview with Chord Overstreet (Chad) and Camila Perez (Julia)
Interview with Regina Reynoso (Sara) and Vanessa Bauche (Nora)
“Acapulco” tells the story of twenty-something Máximo Gallardo (Enrique Arrizon), whose dream comes true when he gets the job of a lifetime as a cabana boy at the hottest resort in Acapulco. He soon realizes the job is far more complicated than he ever imagined and in order to succeed, he must learn to navigate a demanding clientele, a mercurial mentor, and a complicated home life, without losing his way to shortcuts or temptations.
This was for the Television Critics Association panel. I was able to ask Kate a few questions, which was nice. The TCA panels usually have many journalists waiting to ask questions, so I’m lucky if I get to ask one! Anyway, if you know the USA Network show “Queen of the South,” it’s based on this show, which ran for 1 season in 2011, had a second season in 2019 and is now coming back for a third season. “La Reina del Sur” is “based on a novel of the same name by Spanish author Arturo Pérez-Reverte,” according to Wikipedia. If you watch Telemundo or other Spanish-speaking networks, I’m sure you already know about this series.
Here are the opening remarks, to tell you about the show. “Thanks for joining us to learn more about “La Reina del Sur,” Season 3. In 2011, the launch of “La Reina del Sur” propelled Telemundo to the top of the charts, and gave way to Telemundo’s Super Series franchise. The first two seasons of this blockbuster hit, which has since been adapted in English by USA Network, reigned as the #1 program in its time slot in the United States, regardless of language. Now Telemundo’s global hit returns for a third season with the unstoppable Teresa Mendoza, portrayed by superstar Kate del Castillo. Season 3 of “La Reina del Sur” opens four years after the second season with Teresa Mendoza behind bars in the U.S. for the murders of three DEA agents. Stripped of her freedom, she’s, once again, separated from her beloved daughter Sofia. After being freed in a dramatic jailbreak, Teresa returns to a covert world powered by alliances and secret deals. Risking her life throughout Latin America with the fervent hope that she can reunite with Sofia, and end her life as a fugitive, once and for all. “La Reina del Sur” premieres in October. Joining us today is Kate del Castillo. We’re now ready to take your questions.
I asked Kate what has changed most for her doing the show and as an actress. She dove right in with a frank answer that aging has been a problem – it’s tougher on her physically. She explained that “it’s a very different show” because the first season was based on the novel, and these last two seasons are still written by the same author, Reverte, but not from a novel. She praised their “amazing writers.” Unlike the first two season, this season is not about narcotics or selling them. She’s extremely happy about that because she’s always stated that her character, Teresa Mendoza, “is Teresa Mendoza regardless of what she does for a living.” She went on to explain that she’s a survivor and not a victim (no matter what happened to her), and she lives in the man’s world, but “she makes the most out of it.” She also explained that Teresa is more mature and a mother. She also joked that the budget is a lot better, too.
In my second question, which was somewhat similar to the first, I asked her what challenged her in the new season, playing Teresa. She answered that playing a mom is challenging for her, since she’s not one – especially since her character’s daughter is a teenager. Also, this season they traveled to many different countries, wearing all different clothes, that are “amazing” and “culturally different.” She said they dress her in a very native way.
She also told us that she decided to really challenge herself physically, so she decided to change her body completely. She “got ripped” and lost a lot of weight. She worked out a lot, and told us, jokingly, that she only ate one lettuce leaf per day. She figured that Teresa would do that while she was in prison for four years. She worked hard to redeem herself, “to get freedom.” Also, “she’s coming out to revenge,” so she has to be “ready for action.” So this Teresa is a very different one physically.
Other press asked their questions. Kate was asked whether she had expected the show to become “an international hit,” or was she surprised? She agreed that it was “a pleasant surprise.” She reminded us that the show is #1 in its time slot, regardless of language. The “crossover” effect gratified her. She revealed that she was in a play in New York that sold out, to which she credits the effects of the show being such a big hit. She continued that nobody knew it would be a hit before they made it. The book had been a “bestseller for decades,” but the show was very low-budget. She cried when it did well and thanked god. They shot it down in Colombia and Spain, where it was very difficult for them. So they were surprised, but very happy, when it was such a hit.
Another reporter asked a long and detailed question about how the production values of Spanish language television have evolved. She gave an example of the background music being used. Kate agreed enthusiastically that the production values have changed a lot. Their new show has “Miami Symphony Orchestra” and “Carlos Rafael Rivera, who’s an Emmy and Grammy winner” doing the scores for the show and the theme song. She compared this show to telenovelas, which typically go on for “up to 200 episodes” and are more low budget. Their show is a much more ambitious TV series for a Spanish-speaking audience.
Next she was asked how she felt about the USA Network version, so that those who don’t speak Spanish could enjoy it in English. While Kate agreed that it’s a good thing, she hopes that more people in the US would read subtitles and hear her voice. As a viewer, she likes to watch shows in other languages and hear the actors’ voices. She just wishes that Spanish-language shows all had the great budgets that English-speaking shows do. She hopes that will change.
The next reporter pointed out that Teresa started out as a naive young woman and then became a criminal and found her voice and strength. The person asked Kate how much of herself is in Teresa. Interesting question!
Kate replied that there is a lot of her in the character. She told us that she has given Teresa a lot, and Teresa has given her a lot as well. She ticked off their similarities: they both like men and tequila a lot, and they both like to say nasty things (which she admits is not so good). She said they both love passionately and neither one has been that lucky in love. Even though she’s not a mother, she thinks that the way she gives her love is very motherly and protective. She added, “I think we both survived a lot of stuff.” She also added that when she’s not feeling great about something, she asks herself, “What would Teresa Mendoza do?” It helped her sometimes. She hopes that in the future, though, that she’ll be more lucky in the romance department. It sounds like she’s as honest as her character, too.
Kate’s father was also an actor, in telenovelas, so she was asked about that. She disclosed that her father “just turned 88” and “is still working” quite a bit. She pointed out that he started in movies and has done over 350, as well as the telenovelas. She described what it was like for him, that the movies were really bad, and that as a Mexican actor, you had no choice but to do that or the telenovelas when they came along. Then the Cine De Oro came along, when Mexican movies improved, so now they’re much better. She also did some movies, and 10 telenovelas, which helped her learn her craft. She admires how they’re so popular everywhere now because they “sell fantasies.” When she was the lead of the telenovelas, though, it wasn’t as much fun for her as an actress. She came to the U.S. to find better roles.
Kate was asked whether Teresa being a mother made her stronger or more vulnerable. She reminded us that in the first season, she was revealed to be pregnant near the end, and she told another character that she was going to have the child because she had become fearless, and she wanted to know fear again. The second season was all about getting her daughter back (from being kidnapped). She was vulnerable in that sense. She pointed out that you have to have both strength and vulnerability in a character because “one feeds the other.”
She was also asked about being a woman starring in an action role. Kate replied that now women with power are coming into their own in TV and movies. She thinks it’s because women are smart and have to grow up and live in “this macho land.” Teresa is in “this terrible world of killing, and drugs, and trafficking,” but she turned lemons into margaritas. She went on about how women are still doing their traditional roles as mothers and keeping house, but they also work and do many more things than they used to. She, Kate, is looking for great women’s roles, as an actress and producer. She noted that it’s hard to find the line between empowerment and being sexy. You want the character to be strong and sexy but without “objectifying” her. Teresa walks that line. She feels that the character is sexy but “never cared about her looks.” She’s attractive because of being smart and generous, and how she makes her own decisions. She ended with, “she did commit many mistakes, which makes her this anti-heroine that a lot of people relates to because she has all these flaws, and I think that’s what makes her more interesting.” I have to agree with that.
She was also asked about Telemundo and what they’ve brought to the U.S. Latino market, quality-wise. Kate praised Telemundo for being daring. She said that other networks like Univision and Televisa remake telenovelas, but Telemundo comes out with their own original content. They take more risks. She knows they support her because of how successful the franchise is. She also loves that they made a great deal with Netflix for exclusive content.
Then she was asked why it took 8 years between the first and second seasons (I had wondered that, too). She explained that it was because she had gone to the U.S. and was doing other projects as a result of how successful “La Reina Del Sur” was. She didn’t expect another season, and neither did the author. Then Telemundo grew, and people became more aware of her because of movies and series she did, but she always had Teresa Mendoza on her mind. She expressed how much fun it was to play her. Eventually, they called her and told her that Reverte was involved, and they would make a new season. So she agreed because of that, and because she loved the idea of playing Teresa again. She was very surprised that it was even more successful than the first one. She didn’t think people would even care, since it was 8 years later.
Another person from the press asked her if viewers in Spanish-speaking countries enjoyed the same elements of the show as the fans in the U.S. did. Kate spoke a bit about the different types of Spanish used in the series and how people in different countries reacted to them. She feels that the show is very inclusive because they have 20 different nationalities represented by the actors. She said, proudly, “You’re going to see a Latin America that you’ve never seen before: Huge, beautiful, and magnanimous, like it is.”
She was asked a question about the American version of the show – what impact that had on her show (if any). She said that the USA Network version didn’t get nearly as good ratings as theirs did, so she didn’t think it had much effect. She looks at that version as a very different Teresa Mendoza, like “an alter ego.” She didn’t think it had much to do with the book, as theirs does. She did, however, say that she thought the show was great and that the lead actress, Alice Braga, “did an amazing job.” She praised her beauty and talent.
Based on Arturo Perez-Reverte’s novel, Telemundo’s globally acclaimed Super Series™ La Reina del Sur (The Queen of the South) returns for its highly anticipated third season of unparalleled magnitude, starring global superstar Kate del Castillo. Four years have passed since U.S. authorities convicted Teresa Mendoza for the murders of three Drug Enforcement Agents. Separated from her beloved daughter Sofia, Teresa lives behind bars in a maximum-security prison, stripped of all freedoms. Devising a highly sophisticated escape plan, Teresa’s old friends Oleg and Jonathan daringly extract her from prison to take her to Mexico, meeting President Epifanio Vargas. In a world motivated by alliances and secret deals, Teresa agrees to embark on her most dangerous mission yet, taking her throughout Latin America with the urgent hope that she can end her fugitive’s life and reunite with Sofia at last. La Reina del Sur 3 premieres in October on Telemundo.
Kate Del Castillo
Teresa Mendoza, “La Reina del Sur”
A powerful artistic force since her teens, actress-producer KATE DEL CASTILLO returns to one of her most iconic roles as Teresa Mendoza in Telemundo’s blockbuster Super Series™ “La Reina del Sur.” One of the most anticipated television events, the second season of the groundbreaking series premieres on the network in 2019.
Following a decade as one of the most sought-after talents on Mexican television, Del Castillo’s American film breakthrough occurred with the award-winning 2007 hit “Under the Same Moon” (“La Misma Luna”), directed by Patricia Riggen. Co-starring Eugenio Derbez, the bilingual film remains one of the highest-grossing and influential Spanish-language theatrical releases in U.S. history.
Del Castillo has carefully nurtured a multi-national presence. Among the highlights of her varied film career is her star turn as a Bolivian dancer in “American Visa,” winning Best Actress Awards at film festivals in Spain and Brazil, as well as a Best Actress nomination at the Ariel Awards. “American Visa” received its sold-out U.S. premiere at the AFI Film Festival in Los Angeles. Her feature film credits include “Julia” with Tilda Swinton, “Trade” co-starring Kevin Kline, and “No Good Deed” with Idris Elba. In 2015, Del Castillo reteamed with director Patricia Riggen to join the ensemble cast of “The 33,” a powerful telling of the 2010 Chilean mining disaster. She currently can be seen with Mary Elizabeth Winstead, Common, and Chace Crawford in the Eva Vives-directed comedy “All About Nina.”
Del Castillo continues to court success on television, reaching beyond Spanish-speaking audiences on various platforms. In 2009, she starred with Guy Ecker in Univision’s first-ever webnovela “Vidas Cruzadas” (“Crossed Lives”), which she co-produced. Del Castillo hit a new career peak in 2011 in the title role of “La Reina del Sur”(“Queen of the South”), a gritty primetime serial produced by Telemundo and Spain’s Antena 3. As Teresa Mendoza, a Mexican woman who rises to amass great power within the world of international drug trafficking, Del Castillo’s indelible turn helped redefine the role of female lead in the telenovela genre. Based on the bestseller by Spanish novelist Arturo Perez-Reverte, the series became a cultural phenomenon, spawning an American version on the USA Network.
Her continuing relationship with Telemundo also include the 2015 ratings smash “Duenos del Paraiso,” which premiered at #1 and remains the network’s highest-rated premiere to date. That same year, Del Castillo joined the cast of the award-winning CW romantic comedy series “Jane the Virgin,” portraying Rogelio’s (portrayed by Jaime Camil) first ex-wife.
In 2017, Del Castillo starred as Emilia Urquiza in the Netflix political thriller “Ingobernable,” one of the first dramatic series produced in Mexico by the streaming giant. Its success generated a second season in 2018, now airing worldwide. Other noteworthy television credits include a five-episode arc on Showtime’s acclaimed series “Weeds.” Del Castillo also starred in Gregory Nava’s lauded PBS series “American Family,” which marked her crossover debut on American television.
A philanthropist and an outspoken global activist, Del Castillo, was appointed Ambassador for the Mexican Commission on Human Rights to combat human trafficking in 2009, launching the Blue Heart campaign in Mexico City. She remains a devoted spokesperson for PETA, earning the organizations 35th Annual Humanitarian Award in 2015.
Interview with Mark Labella of “S.W.A.T.” on CBS by Thane 10/13/22
This was quite an interesting interview as you can tell from the video below! I enjoyed speaking with Mark.
MORE INFO:
MARK LABELLA Emerges on Season Six of CBS Police Drama ‘S.W.A.T.’ Premiering October 4, 2022
LOS ANGELES – Actor Mark Labella gets entangled in an elaborate heroin operation in Thailand when he recurs as a guest star on the six season of the hit CBS police drama series, S.W.A.T., premiering on October 4th.
In the season opening episode “Thai Hard,” Hondo surfaces in Bangkok training alongside Thailand’s premiere S.W.A.T. team. When Hondo and his former military buddy stumble upon a wide-ranging heroin operation with ties to Los Angeles, they find themselves on the run from a powerful drug kingpin. Labella emerges as Lek, who proves vital when the danger heats up.
Labella was excited to be part of this special storyline, sharing “S.W.A.T. was the best set I’ve ever been on. I have never felt as safe with my choices, as appreciated for my work, and as welcomed on the first day.”
Born in the Philippines and raised in America, Labella is a U.S. Navy Veteran turned Medical Doctor, who has been building a solid reputation for his talents since setting his sights on the entertainment industry. His notable on-camera credits include a role in the upcoming Gerard Butler action thriller feature film for Lionsgate, previously titled The Plane, as well as appearances in the fan favorite TV shows Magnum P.I. and NCIS: Los Angeles.
Behind the camera, Labella has been discovering success as a screenwriter and producer. His background in medicine has become the basis for many of his original projects, including the television drama series, MisDiagnosed, which won the Boston Screenplay Awards and gained enough attention to land him further opportunities as a screenwriter and producer.
Labella has received awards and accolades for a several of his projects: Breathe – ISA Screenplay Contest Top 10, HollyShorts Semi-Finalist and currently on third round of Launchpad Writing Competition; Soul & Spice – PAGE Int’l Awards Competition Top 25 Comedy, Austin Film Festival 2nd Round, WeScreenPlay TV Pilot Competition Finalist; To The Last Girl I Ever Loved – Blastoff Screenplay Competition Winner, Queen Palm Int’l Film Festival Gold Winner, Best Script Award (London) Finalist, Independent shorts Awards Winner, and many others.
Currently, Labella is producing the U.S. leg of the Filipino feature film project, Labyu with an Accent, starring Filipino superstars Coco Martin and Jodi Sta. Maria. In addition, he is the writer for the upcoming comedy series, Soul & Spice, starring the Philippines’ ‘Comedy Queen’ Ai-Ai delas Alas, Tony Winters, and Johari Johnson; and his latest psychological thriller feature film script, Catholic School, has just been optioned and will head into production soon.
When he is not on-set, Labella spends much of his spare time participating in medical missions and supporting medical and veteran charities. He also volunteers his time writing PSA’s to spread the word to his fellow Filipino-Americans to vote. Labella believes, “My main goal as a creative artist is to tell the stories that I’ve witnessed during my experiences around the world.” Because of his commitment to telling these untold stories, Labella accepted the nomination as the incoming Executive Director of the 13-year-old non-profit organization, Fil-Am Creative. He is excited to honor his performance to coincide with October’s Filipino-American History month in the United States.
Mark Labella is represented by Walter Tabayoyong at Altamero Management and Rachel Tolliver at Firestarter Agency.
Interview with Jennifer Irwin and Michael Consuelos of “Let’s Get Physical” on Lifetime by Krista 10/6/22
It was great to speak to these two actors from this movie. Michael’s parents are actors/talk show hosts Kelly Ripa and Mark Consuelos, who met while working on “All My Children” years ago, so it’s nice to see their grown son also as an actor. This was a panel that Lifetime had for the movie, where those of us in the press asked questions. The movie airs Saturday, 10/15 on Lifetime! Watch the trailer below before the interview…
MORE INFO:
Lifetime Announces Two New Ripped From the Headlines Movies from EPs Kelly Ripa and Mark Consuelos, Jenna Dewan Set to Star and EP
– 08/11/2022 –
KELLY RIPA AND MARK CONSUELOS EXECUTIVE PRODUCE TWO NEW RIPPED FROM THE HEADLINES FILMS THROUGH MILOJO PRODUCTIONS BANNER
JENNA DEWAN TO HEADLINE AND EXECUTIVE PRODUCE ORIGINAL MOVIE LET’S GET PHYSICAL WITH JENNIFER IRWIN AND MICHAEL CONSUELOS
LEA THOMPSON, ZACH GILFORD, AND ALICIA WITT STAR IN THE DISAPPEARANCE OF CARI FARVER
BOTH FILMS WILL DEBUT THIS OCTOBER
New York, NY – August 11 – Lifetime announces two new Ripped from the Headlines movies, Let’s Get Physical and The Disappearance of Cari Farver from executive producers Kelly Ripa and Mark Consuelos, under their Milojo Productions banner as part of the previously announced partnership with Lifetime. Let’s Get Physical stars and is also executive produced by Jenna Dewan via her Everheart Productions with Kyle McNally, and features Jennifer Irwin and Michael Consuelos. The Disappearance of Cari Farver stars Lea Thompson, Zach Gilford and Alicia Witt. Both films will debut this October on Lifetime.
Inspired by actual events, Let’s Get Physical is the story of fitness instructor Sadie (JennaDewan, The Rookie) who by day, taught fitness and dance to soccer moms, but by night led a double life running a sophisticated prostitution ring with a customer list that included very prominent men in the community. After an anonymous tip, authorities raided her studio, leading to Sadie’s indictment and ignited a firestorm in the small town leading everyone to ask, who exactly was on the client list. Dewan executive produces and stars alongside Jennifer Irwin (The Goldbergs) and Michael Consuelos (Riverdale). Let’s Get Physical is set to premiere Saturday, October 15 at 8/7c.
Let’s Get Physical is executive produced by Milojo Productions, Johnson Management Group, Inc., and Everheart Productions. Kelly Ripa, Mark Consuelos and Albert Bianchini serve as executive producers for Milojo. Michael Halpern serves as executive producer for Milojo. Jenna Dewan and Kyle McNally executive produce for Everheart Productions. Robin Hayes directs from a script written by Margaux Froley and Kelly Fullerton.
In addition to playing Carter Hall on the superhero shows, Falk’s starred opposite Tom Cruise in KNIGHT AND DAY, as the villain, Steve Carell in WELCOME TO MARWEN, and recently, SWAP ME BABY, the acclaimed comedy from Caden Butera.
BIO.Falk was born in east Germany behind the iron curtain. After he and his family fled the country Falk was able to pursue his dream of becoming a story teller.
After some detouring that led Falk to become a professional backup dancer and choreographer, he finally landed in Los Angeles and got his first big break in Hollywood with Knight and Day, playing opposite Tom Cruise and Cameron Diaz.
From that point on, Falk continued to work on blockbuster films like White House Down, Transcendence and most recently Oscar winner Robert Zemeckis’ Welcome to Marwen.
Falk had the opportunity to appear on Emmy winning shows such as Arrested Development, The Alienist, The Closer and many more.
Eventually Falk put on a superhero costume like so many others to portray Hawkman in the DC television universe.
Despite fulfilling his childhood dreams and achieving his goals, Falk suffered from severe depression. In his search of purpose and fulfillment he was lead to the plant medicine Ayahuasca, an ancient medicine originating in the amazon.
This work opened up a whole new perspective for Falk and he decided to focus his efforts on producing and creating an environment for film makers that brings the focus back to story vs maximum profit. He founded the company Patronage Film together with Firestone heir Charlie Thiel. His biggest dream is to bring transparency, fairness and creativity back to the film industry .
Check out Falk’s 2022 movie, “Swap Me, Baby!”
Lily, an uptight business woman and Philippe, a larger than life French mushroom tripping gigolo are 8 months pregnant. Their therapist recommends a nature getaway at a remote cabin. Their little weekend trip turns into a hilarious adventure when Philippe stumbles upon a magic box that swaps out their souls. Lily and Philippe are tasked with riddle after riddle not only to get their own bodies back but to also get a better understanding of their opposite and what they have to offer as parents.
Interview with actors Demián Bichir, Anika Noni Rose, Madison Taylor Baez and Grace Gummer; and EPs Andrew Hinderaker and Seith Mann on “Let The Right One In” on Showtime by Suzanne 9/20/22
This was another TCA panel – this one from Showtime. I really enjoyed the episodes I’ve seen of this show so far. It’s a very good drama that just happens to have some vampires. Demián Bichir plays a man (Mark) whose little girl (Eleanor) is a vampire, so he works tirelessly to keep her alive (no matter what he has to do) and to try to find a cure for her. There’s a lot of mystery about whether the vampires have a virus or what. Madison Taylor Baez plays the little girl. I’ve interviewed her a few times. The first time was for the TV show “Selena,” where she played the young Selena. More recently was for her competing in “America’s Got Talent.” She is an amazing singer. I doubt she’ll be singing in this series, though. Too bad because I know Anika Noni Rose is also a great singer. Hey, if they can do it on “Buffy the Vampire Slayer”…. I have to also note that I loved Demián Bichir in this fun primetime soap a few years ago called “Grand Hotel.” I was very upset when they canceled it. Anyway, Grace Gummer plays a scientist (Claire) who finds out that her brother is an ailing vampire. Their father has been trying to find a cure, too. Anika Noni Rose plays a cop (Naomi) that lives next door to Mark and Eleanor with her son, Isaiah. It’s a really interesting drama with a lot of family drama as well as the supernatural stuff. It’s unique in that way. The vampires are not “cool” or “sexy” like in many shows. They’re more like addicts and victims. Anyway, it’s really good, so make sure you watch it. It airs tonight, Friday, Oct. 7 on streaming and OnDemand, and then it airs on Sunday on Showtime.
SHOWTIME FALL TCA PRESS CONFERENCE
LET THE RIGHT ONE IN
Demián Bichir – “Mark Kane” / Producer (he/him)
Anika Noni Rose – “Naomi Cole” (she/her)
Madison Taylor Baez – “Eleanor Kane” (she/her)
Grace Gummer – “Claire Logan” (she/her)
Andrew Hinderaker – Showrunner / Executive Producer (he/him)
Seith Mann – Director / Executive Producer (he/him)
Here is the introduction in our panel to the show: Next up we have the new Showtime genre-bending thriller “Let the Right One In,” starring Oscar nominee Demián Bichir. Bichir and Madison Taylor Baez play father and daughter, Mark and Eleanor, whose lives have never been the same since Eleanor was turned into a vampire a decade ago. Keeping the secret and staying alive present not only terrifying but emotionally-charged challenges, especially when Mark and Eleanor become enmeshed in the lives of others. “Let the Right One In” will premiere on streaming and on-demand Friday, October 7th, before its on air debut on Showtime Sunday, October 9th.
I tried very hard not to give spoilers in my question, so the producer gave me a pat on the back for that. First I mentioned that Maddie was on AGT recently and how well she sang. Then I asked my question: “Why does Demián’s character..I don’t want to give any spoilers; but, at the end, he does something kind of monstrous even though he’s human, and he is doing it for human reasons. Why does he choose to do that rather than, say, choose a few different other people and get the blood gradually without doing what he did?” I know, that was a very tortured question…
Producer Andrew Hinderaker offered to let Demián answer, but Demián let him instead. He said, “I want to commend your ability to ask a very specific question without spoiling. That was incredible.” Aw, that was such a nice thing to say. He alluded to “certain rules” in the show (as all vampire stories have), that they’re trying to stick to. Also, he said that Mark (Demián’s character) is trying to keep his child from starving, so he’s under pressure to do that, and quickly. He referenced the other producer, Seith, who had spoke earlier about the “core and the center and the lengths that we go to to take care of our children, and so there are specific rules that will only make that clear as we go forward. That’s what I’ll say to try to answer as eloquently as you do without spoiling anything as well.” I blushed and thanked him for his compliment. No one has ever called me eloquent before!
The other press asked their questions. Demián was asked what attracted him to the project and to tell us how he became producer as well. Demián spoke at length about how much he loved the original film, and how great the showrunner Andrew and EP Seith are. He said that when they audition actors, the actors audition them as well, “to make sure that they are wonderful people, knowledgeable and, you know, cultured if we are lucky.” He was very impressed with how Andrew was able to turn the movie’s story into a series. He had worked for Showtime before and remembered how brave they are when they let them create and say whatever they want. He said that he gets emotional talking about the great cast, especially “these three beautiful ladies.” He made a soccer analogy (what they call fútbol in his country) when he said, “I’m only as good on the field as when I have a beautiful team around me. And I have to say it’s been a tour de force every time we have scenes together, and it’s been wonderful.” He’s very grateful for all that he’s been given by Showtime, the cast, Tomorrow Studios, Andrew and Seith. He didn’t really answer the second question, but he gave a great answer, anyway.
The producers were asked to tell us how they took the movie and made it into a TV show, such as what they added and what they took away. Andrew answered first. He was touched by Demián’s words and agreed that they’re all having the same wonderful experience. He loves seeing his cast on Zoom. He says they’re “really just an extraordinary team of people and team of artists.” He believes the movie was the best horror movie ever made as well as very moving. He likes to begin with an emotional connection. The relationship between the two children in the film (one of whom is a vampire – not really a child) is “just astonishingly beautiful and poignant and poetic, and so there’s an opportunity to use that as an aesthetic inspiration.” That’s how they came up with the relationship between Eleanor and Isaiah. He wanted to use the parent-child relationship to explore the idea of a child struggling with addiction. He felt that it was “this incredible gift” to take these seeds in the film and create a new story for the show, to “explore the lengths that this father would go to to keep his daughter alive.” He reiterated that the characters in the TV series are brand new and not the same as the ones in the movie. It’s set in NYC in the current day (the movie was set in Stockholm, in 1980). They also created Naomi and Isaiah as well as the other family with a vampire, where Claire is the sister. Although it’s a new story, he feels that it’s “a love letter to the film.”
Seith chimed in to say that he also loved the movie, and the book. He was blown away by the pilot and the relationship between Mark and Eleanor. He admired the way he took this “beloved movie and found room to create a whole new dynamic.” He praised the way Andrew wrote the characters, which made him excited to work on it.
Another reporter, who hadn’t seen the movie, wanted to know if there would be some sort of explanation to explain what happened in the movie for the TV viewers who didn’t see it, especially regarding how the vampire infection came about.
Andrew joked that they need that reporter in the writer’s room and then asked Maddie to answer the question. Maddie said in a cagey way, “there’s definitely a way that all of this started, and it may or may not be answered. It most likely is, but, yes, you will get background information sometime this season.” Grace added that you don’t have to watch the movie to know what’s going on with the show or to enjoy it (and that’s true, for sure).
The group was asked why they think vampires are so popular in TV, since there are so many new vampire shows coming out. Andrew answered that, compared to all of the other monsters, vampires are the “most human.” They look and talk like us and their method of attack is “intimate.” He thinks we find them “exciting and thrilling.” They love writing for them on this show because they are so “deeply human,” which also makes it “more terrifying.”
Seith was asked how much he uses of the two previous movies, how he distinguishes the new series from those, what choices he makes and how much he shoots at night.
Seith admitted that he’s never seen the American remake of the Swedish film and didn’t want it to influence him. He feels that there’s “more love” in Andrew’s script than there was in the original movie (and more relationships). He wanted to make the city feel very “cold” and “harsh,” like the film, but with more light and love in the center of it. They used that metaphor when they shot the show. He spoke about how the show is different from the film by necessity. They loved the original but then had to “do your own thing.” He and Andrew had to rely on their own instincts as filmmakers to do that.
Maddie was asked what kind of physical and emotional adjustments he had to make “to become this predatory, dark character.” The reporter was impressed with her animalistic movements and asked if she had to train specially for that.
She replied that when she first got the script, she knew that she would have to go to “certain lengths,” which she had to accept. It worked out for her. She fell in love with the role right away. She spoke of late nights with blood all over her face but said that it was all worth it. She didn’t go through any particular training for her “unnatural movement” but just did it the best way she could. She’s excited to see the finished project.
The next journalist was a latina, who said that she was excited to see latinas in a fantasy world. She asked Demián and Maddie about working together and what we should expect from them in the series this season. Maddie said that she always enjoys working with Demián because she learns so much, and they formed a bond from working together and hanging out, which they took into their scenes. She said that he’s “just an amazing person, an amazing actor.” Demián said that he feels the same way about her. He was a child actor, too, so working with children always reminds him of those days. Watching Maddie and Ian makes him admire how much fun they have playing, and he praises the producers for creating such a great space where, even though it’s a dark show, the children can play and have fun. He said that Maddie is a “because she’s a true professional,” so she makes everything easy. She’s also never taken a break from the shooting, other than going to school. She’s always prepared, even though the role is very physically and emotionally demanding. He relates that it took a toil on him, he “was drained,” but the kids were not.
Another reporter asked how Maddie’s singing (which she loves) “informs” her acting and vice versa. Maddie gave a very intelligent answer about how singing and acting both get different aspects from each other. They both use different movements and emotions. She likes to take the styles from singing into her acting.
Grace was asked a tough question about where she finds her character’s “moral center,” since her brother is a vampire and her father is kind of a jerk. She feels that’s the main theme of the series: Where does the moral center lie? Her character was not in the movie. The writers gave her an impression of what Claire was like, and they answered her questions about her very well. She reveals that Grace is “very complicated” and “does very questionable things to save her brother and to find a cure.” She sees her as an “adversary to Demián’s character.” The show toes the line between good and evil. She believes everyone lives in the grey zone as three dimensional, complicated people.”
Grace was also asked if her family enjoys vampire stories, and has she shown them this series. Grace admitted that she had never been into them before, and she hadn’t seen the movie at first. She loved it, once she saw it. She learned a lot about vampires from this show and the movie.
Andrew was asked what their “vampire rules” are because every vampire movie or show seems to have their own rules. Andrew didn’t want to spoil too much but did tell us that vampires have to be invited in (alluding to the title of the show). Also, a line in the novel says that being a vampire is like an infection, and they repeat that in the movie, so he discussed that idea with a virologist. The doctor was happy to talk about vampires. The vampires can’t go in the sun and only eat blood. I thought this part was interesting. The virologist “talked about the part of the brain that very specifically manages pigmentation in the skin that acts as a shield for UV radiation from the sun being the same part of the brain that deals with the flight or fight mechanism and the mechanisms that would exist that would shut off the body to accept anything but oxygenated blood.” That became the idea for Claire, a scientist, who is trying a cure or treatment for her brother, and for Mark, who’s trying to find the same for his daughter. Obviously science can’t explain all of it, such as being invited into someone’s home. They tried to be as realistic as possible with the vampire mythology being explained by science to a certain extent.
Grace added that the vampires on the show are more like real people who happen to be victims. They’re not just “scary monsters or violent predators,” which is what makes them different from other vampire movies or shows. He added that because of these mechanisms in the brain, the vampire attacks “can be quite vicious and quite violent,” which is why Naomi is investigating “these homicides that are so gruesome and so violent in their nature,” which seem to be done some kind of monster.
Anika was asked how her character being a detective brought to her character and how it informed her “as a human being.” Anika thinks that her being a cop means that she’s more watchful than most neighbors and notices more. Mark and Ellie are hoping that they’ll be more comfortable there, but they can’t really be, since they live next door to Naomi. She always suspects the worst of people (even though she wants to see the best in people). Andrew praised the way she answered that question. He just spoke to the writing and how the characters and their stories weaved together well.
Seith praised the way Andrew wrote Isiah to be such a three-dimensional character because he wasn’t in the film. He likes the story between Isaiah and his mom, and how she tries to be a good parent to this bullied boy, but sometimes she fails (like most parents do).
Anika was asked how it works for her character to be the single mom as well as the hunter and how that affected her approach to the role. Anika praised the writing because Naomi is written as a real person and not your typical TV mom. She loves that this character is a hunter as well as loves her child. She often has the conflict between being a good mom and being a hunter or protector. She loves how Naomi is multifaceted and who changes constantly because of all that she’s juggling. She expressed that as an actor, she doesn’t like the “mom role” usually because it’s boring. Naomi, though, “is dealing with her own issues, who is tortured with her own things, but also has the capacity for great, strong, intense love, which makes for really good decisions and really bad decisions all in the same space.”
Anika was also asked whether she ever wanted to make any changes to the role or script. She explained how actors often know the character very well and want to ask questions or suggest changes, but in this case, they were very open to her questions and suggestions. They didn’t view it as a challenge, like some writers or producers would. She’s “grateful to be in this space.”
Demián has his own restaurant in Mexico, so he was asked how much of that real life experience he brought to this role (because Mark works as a chef). He told us about how he came to New York when he was 22, “trying to learn English,” and he “worked at a Mexican restaurant” while he was starting as an actor. He and his friend opened a restaurant in Mexico that’s been there “for 22 years,” and he still loves to go there and cook. He compares cooking to the theater, “from picking up the right products and picking up the right elements and making sure that everything’s right there on the table before you begin cooking. This is so similar to art in general.” He agreed that this helped him with the role. He’s very happy that Mark is a cook.
SHOWTIME ANNOUNCES PREMIERE DATE AND RELEASES OFFICIAL FIRST-LOOK TEASER FOR NEW THRILLER LET THE RIGHT ONE IN
The 10-Part Drama Will Debut on Non-Linear Platforms on Friday, October 7 And Premiere On-Air on Sunday, Oct 9 at 10 p.m. ET/PT
Photo: Francisco Roman/SHOWTIME
LOS ANGELES – July 26, 2022 – SHOWTIME will debut its new thriller drama LET THE RIGHT ONE IN on streaming and on demand for all SHOWTIME subscribers on Friday, October 7, before making its on-air debut on Sunday, October 9 at 10 p.m. ET/PT. Led by Oscar® nominee Demián Bichir (A Better Life), the 10-episode series from Tomorrow Studios (Snowpiercer) also stars Tony winner Anika Noni Rose (Dreamgirls, Power), Grace Gummer (Mr. Robot), Madison Taylor Baez (Selena: The Series), Kevin Carroll (Snowfall), Ian Foreman (Merry Wish-Mas), Jacob Buster (Colony) and Nick Stahl (Fear the Walking Dead).
Inspired by the original hit Swedish novel and film, the series centers on Mark (Bichir) and his daughter Eleanor (Baez),whose lives were changed 10 years earlier when she was turned into a vampire. Locked in at age 12, perhaps forever, Eleanor lives a closed-in life, able to go out only at night, while her father does his best to provide her with the humanblood she needs to stay alive. With these emotionally charged and terrifying ingredients as a starting point, LET THE RIGHT ONE IN will upend genre expectations, turning a naturalistic lens on human frailty, strength and compassion.
LET THE RIGHT ONE IN is executive produced byaward-winning playwright, writer and producer Andrew Hinderaker (Away, PENNY DREADFUL) who also serves as showrunner. Seith Mann (HOMELAND,#FreeRayshawn, Raising Dion) is also an executive producer and directed the pilot, as well as multiple episodes. Marty Adelstein and Becky Clements are executive producers for Tomorrow Studios (an ITV Studios partnership).Alissa Bachner is co-executive producing, and Bichir serves as a producer on the series.
Demián Bichir Nájera (born August 1, 1963) is a Mexican actor. After starring in telenovelas, he began to appear in Hollywood films. He was nominated for the Academy Award for Best Actor for his role in A Better Life.
Interview with stars Max Thieriot, Billy Burke, Kevin Alejandro, Diane Farr and Jordan Calloway; and Executive producers Tia Napolitano and Tony Phelan of “Fire Country” on CBS by Suzanne 9/16/22
This was a TCA panel, so there were a lot of journalists there, and we’re only allowed one question (more or less). I’m not allowed to give you a transcript or video, so below is my summary of the panel. I really enjoyed the first episode, so I’m adding this show to my watch list. It’s a unique idea and very well done.
CBS 2022 FALL TCA PRESS TOUR
FIRE COUNTRY
Max Thieriot, Creator/Star/Executive Producer
Billy Burke
Kevin Alejandro
Diane Farr
Jordan Calloway
Tia Napolitano, Showrunner/Executive Producer
Tony Phelan, Executive Producer
This was the first panel of the day, so we heard a general CBS introduction from Phil Gonzales, Senior Vice President, Communications, CBS Entertainment, and he played a promo for their shows. Then we heard from another executive, Mallor Mason. She told us, “We’d like to welcome you to the “Fire Country” panel. The drama inspired by series star Max Thieriot’s experiences growing up in northern California fire country premieres Friday, October 7th on CBS and streaming on Paramount Plus.” That’s right, the star of the show, Max Thieriot, is also the creator of the show, and it’s based on his own experiences! Also, he’s an executive producer (of course).
Then showrunner Tia Napolitano said, “We are so excited to bring you “Fire Country.” We’ve got a fun show that is about redemption and family. It’s a character driven thrill ride. We have had so much fun making it. I got excited just watching the sizzle reel again. It is inspired by the reality of the fires in California, and our characters are the heroes that are custodians of a community deep in fire country in California. Let’s get this started. We’re so excited to be here.”
Most of the press asked Max questions, but I really love Billy Burke (ever since I saw him in the “Twilight” movies! And he’s been great in many shows I love, such as “Revolution” and “Major Crimes”), and Diane Farr (who plays Sharon) is also great. They play spouses in this show. There’s a bit of familial reveal at the end of the first episode, too. I asked them if they could speak a little bit about their characters’ relationship, and their relationship with the main character, Bode (Max).
Diane was very funny but really didn’t answer my question. She spoke more about working with Billy than about the characters. That’s fine – it was very entertaining. She revealed that it was fun to work with Billy because he’s “really not a morning person.” She made a funny noise and said that’s the noise he makes when he works. Then she compares him to Max, who comes in very bright, cheery and friendly. She said that he’s “Jesus, who was born in the manger” and then added, “And the juxtaposition of those two men is where I live.” She did say that she was just joking. She went on to speak more seriously about how she and Billy worked well together because they both have strong personalities, are veteran actors, “we negotiate our scenes. I usually want more emotional stuff, and he wants a little more action, and we literally negotiate, “Okay, if you kiss me here, I’ll do that thing you asked for.” Like, we barter for who’s going to give what.” I found that to be very interesting. She also praised Max for being such a great guy and full of heart.
Billy replied, “I’m going to go ahead and let you guess who wins most of those negotiations”. Then he praised Diane for making the acting easy and interesting. He’s very happy, he said, as long as he “feels like there’s something happening there.” He then went on to praise the entire cast, saying that they’re the best cast he’s worked with in a long time. He conceded that he does sometimes arrive in the mornings grumpy (or as he put it, “I’m all grumbly”) but working with them all makes things “a whole lot better.” They joked around a bit more. It was very fun to watch them play together.
The rest of the press had their own questions. The first one asked about how Max had to negotiate (there’s that word again!) his work on this show with his work on “SEAL Team,” where he’s also a part of the cast. Max admitted that it was a little difficult to “juggle,” but what helped is that they were already shooting season 6 of “SEAL team” before they started on “Fire Country” in earnest. He was able to make it work during breaks in the shows. He explained, “It’s been crazy, but, you know, life’s crazy, and I got a couple kids to throw in there, and I’m moving around, up to Vancouver to shoot a TV show…but I’m young, and I can keep up, and … I like staying busy, so it works for me.”
He added that when he started working writing this show, it was the start of COVID, and he didn’t know “how long this process would be.” He’d never tried to pitch an idea to a studio, and he’d never finished writing anything. He joked about being “a little bit of a hummingbird where, like, I’ll start on something and then I’m off to, like, another idea.” This started like that, but then he felt “locked into it.” He theorized that this is “just because it was personal.” He wasn’t sure whether he would play Bode, but then the producers convinced him that he needed to.
Max was also asked where he grew up in Northern California, and why he thought it would make a good TV show setting. The reporter also wanted to know whether the show will have self-contained episodes or be more serialized. Max answered that he grew up in Occidental, although he was born in Los Altos because his family was staying in a friend’s garage unit at that time. He told us that Occidental, which is in Sonoma County, only has about 1,000 people in it. He left there to work in the big cities, so he didn’t value how interesting the small town could be. He looked back on his life there and realized how different it is. He described it as “the comfort that you have and the familiarity you have with everybody and how close this community is. You know, in times of struggle and when everybody needs to come together, they really do, and they all support each other.” He felt that this would be a good “core foundation for the show.” Diane chimed to say that this is why she calls him Jesus Christ, because he was born in a manger.
Tony answered the other question, saying that it’s somewhat serialized, but he believes that it will be easy for the audience to catch up if they miss some episodes. He conceded, “There are obviously fire events, rescue events. Our firefighters battle wildfires from the Oregon border all the way down to Mexico..they also do water rescue, they do search and rescue. So there’s all sorts of stories to tell.” Their personal lives, and the mysteries involving them, will be the more serialized parts.
Billy was asked whether playing a fire captain on “911: Lone Star” helped him prepare for this role. Billy replied that he did a movie called “Ladder 49” (2004). He joked that maybe he’s a “closet pyro” because he loves fire. Then he thought about it and said that it’s really the characters he cares about, more than the world they’re in. His character on 911 was “just this despicable yet somehow likable guy,” which is completely opposite his character here of Vince. He’s not sure that he’s ever played a character like this one before.
The same reporter asked Kevin (who plays Manny) about his role. He’s played a lot of cops, but here he’s more of a “fire cop.” Kevin is very honored to have played by many cops, but he’s new to the world of fire fighters. He shared that they, as actors, “dive as deep as we can to kind of figure out and respect not only the script but respect the job that’s put in front of us.” He’s really enjoying playing the role, but he feels that “it’s still a mystery to me. He just wants to do his best to represent firefighters on the show. He praised their “fire consultants” that show them how to do things. They have to stick close to the real firefighting but within the boundaries of entertainment. He agrees with Max about the small-town aspects of their show. He enjoys that aspect of “community and understanding that heart.”
The cast was asked whether anyone is afraid of fire in real life. No one thought that anyone there was. I mean, even if an actor had that kind of fear, I would think they wouldn’t want to admit it because they might lose their job (as long as they were able to conquer it and not let it interfere with the role). Max responded by talking about great their visual effects team is. Sometimes they have real fires in front of them, and sometimes it’s just visual effects, and their team “makes that look much scarier than it is.”
Max was asked about whether he’d experienced any great fire storms when he was living in Sonoma County; specifically whether his family ever had to be evacuated. Max revealed that there was one that happened when he was two, but he doesn’t remember. It. Most of his writing was based on the fires of the past few years, where a lot of Santa Rosa was destroyed by the fires. That one affected him the most emotionally because of all the damage and lives lost. He described to us that it came very fast, so the firefighters only had time to try to save lives and nothing else. He was texting with his friends who work as firefighters in that area and some of their stories were “pretty horrific.” He lives by the beach, but his mom lives up there, as well as friends. She had to be evacuated. How scary! She has horses and other animals on their faimly farm, so he had to go up and help them get the animals out and go to a safer area, like the dairy land in the southern part of the county.
Diane was asked about her past fire experiences on the movie “SuperFire” and in “Rescue Me” – specifically comparing real fire with CGI fire, and how it’s less risky now. She did agree that they’re much safer now.
She told a great story (she really should be on a podcast or writing) about her jobs. In the movie, she “had to learn how to fly a Cessna.” Then, with the series, “I had to learn everything because nobody thought I could be a firefighter. I trained with three ladies in three states. It was super hard.” She said that didn’t know anything before this series about Cal Fire (California Department of Forestry and Fire Protection) or about the different types of fires. She alluded to climate change making the world hotter and creating more fires, and how scary that is. She went back to the original point, saying that she doesn’t get to do too many dangerous things as an actor. However, she does “ride a motorcycle in real life,” which they wrote into the show. She thinks it’s probably too dangerous, but when a large stunt man tried to take it away, she didn’t let him, so we will see her riding that.
Actor Jordan Calloway (Jake) is most known for playing Khalil/Painkiller on “Black Lightning.” He was asked how “the physicality of that role” helped to prepare him to play a firefighter. Jordan said, “I’m still laughing after Diane. She’s hilarious. That’s mama bear on set.” He went on to explain that the two roles are very different. With the earlier show, “there was a heavy martial arts, heavy weaponry work.” He mentioned that Max probably has that on “SEAL Team” as well. He praised the real life firefighters for what they do, such as carrying around a heavy oxygen tank all day, as they had to do in one episode, as well as having to run around, check their surroundings, and deal with forest fires. He said admiringly that those are long days they have to stay fit and focused. He has some firefighter friends that deal with the fires in California because he’s from the Altadena area, which is in the mountains north of Pasadena. He remembers a big fire they had in 1996 where they had to evacuate. He laughed, telling us a story where his mom was up on the roof, watering it to make sure it wouldn’t catch fire. She also had “12 gauge shotgun” to keep looters away. However, they found out later that it wasn’t even loaded.
He went back to talking about how tough it is physically for the real firefighters, who spend long hours fighting the fires that can change very quickly. The stunt guys have it much easier, since the fire is fake, but he praised them for how great they are. He said they’re “crushing it.”
The journalist replied that he’s “been evacuated three times,” so he knows what it’s like for the real firefighters. He asked Max how he handles his heavy workload and whether it’s ever scared him. Max doesn’t think he’s ever been scared of the amount of work. He likes to “give a hundred percent” at whatever job he gets. He said that it may seem like his time is very “divided,” but compared to his “grandpa who farmed corn for 72 years,” it’s no big deal. His grandpa said, “Make hay while the sun shines.” He doesn’t shy away from the hard work. He enjoys “the sense of accomplishment in completing things.” He revealed that, “I have my work jeans on right now underneath my fancy shirt because I’m going to go out and finish my chicken coop that’s in the back as soon as we get off this call.” Whether he’s filming or working at home, it’s no different for him. He just has a bit more work than he’s used to, and he’s getting “a lot more emails” than he’s used to from his “Fire Country” co-workers, so he has a hard time keeping up on that, but he enjoys the work.
Actor/comedian Richard Kind, who was on the next panel for “East New York,” arrived early, so Diane Farr said, “I just want to welcome Richard Kind to our Zoom meeting. Richard, I’m so glad you can join ‘Fire Country.'” He didn’t seem to know where he was, so he asked, “Is that true? Am I with all you guys?” So she told him that he was. He replied, without missing a beat, “Well, I look forward to putting on my suit and wearing a big hat. Really big. How do I do that?” It was pretty hilarious.
Then they let Max give some closing remarks. He talked about how much he loves everyone on the show and how great they are. He’s excited to share the stories of the heroic firefighters.
MAX THIERIOT STARS AS BODE, A YOUNG CONVICT SEEKING REDEMPTION BY JOINING A PRISON RELEASE FIREFIGHTING PROGRAM WHERE HE AND OTHER INMATES ARE PARTNERED WITH ELITE FIREFIGHTERS TO EXTINGUISH MASSIVE, UNPREDICTABLE WILDFIRES, ON THE SERIES PREMIERE OF “FIRE COUNTRY,” FRIDAY, OCT. 7
Inspired by Series Star Max Thieriot’s Experiences Growing Up in Northern California Fire Country
Series Also Stars Billy Burke, Kevin Alejandro, Diane Farr, Stephanie Arcila, Jordan Calloway and Jules Latimer
“Pilot” – Max Thieriot stars as Bode Donovan, a young convict seeking redemption and a shortened prison sentence by joining a prison release firefighting program in Northern California where he and other inmates are partnered with elite firefighters to extinguish massive, unpredictable wildfires across the region. It’s a high-risk, high-reward assignment, and the heat is turned up when Bode is assigned to the program in his rural hometown, where he was once a golden all-American son until his troubles began. Five years ago, Bode burned down everything in his life, leaving town with a big secret. Now he’s back, with the rap sheet of a criminal and the audacity to believe in a chance for redemption with Cal Fire, on the series premiere of FIRE COUNTRY, Friday, Oct. 7 (9:00-10:00 PM, ET/PT) on the CBS Television Network and available to stream live and on demand on Paramount+*. Series also stars Billy Burke, Kevin Alejandro, Diane Farr, Stephanie Arcila, Jordan Calloway and Jules Latimer.
REGULAR CAST:
Max Thieriot
(Bode)
Billy Burke
(Vince)
Kevin Alejandro
(Manny)
Diane Farr
(Sharon)
Stephanie Arcila
(Gabriela)
Jordan Calloway
(Jake)
Jules Latimer
(Eve)
GUEST CAST:
Marcelo Arroyo
(Julio)
Michelle Choi-Lee
(Ana)
W. Tre Davis
(Freddy)
Aleita Northey
(Lindsey)
Ty Olsson
(Cory)
Kaylah Zander
(Aydan)
STORY BY: Joan Rater, Tony Phelan and Max Thieriot
TELEPLAY BY: Joan Rater and Tony Phelan
DIRECTED BY: James Strong
GENRE: Drama
*Paramount+ Premium subscribers will have access to stream live via the live feed of their local CBS affiliate on the service as well as on demand. Essential-tier subscribers will have access to on-demand the day after the episode airs.
Interview with actors Miia Harris, Ceci Balagot, Nayah Damasen, and Case Walker and EP’s Todd Holland, Adam Bonnett and Phil Breman on Paramount+/Nickelodeon by Suzanne 9/21/22
This TCA panel was for a new Halloween special movie based on the popular animated series and children’s dolls, “Monster High.” It airs Thursday, 10/7. It was fun seeing how excited everyone was.
First we had an introduction from Todd Holland, and he played us a musical clip from the show.
I had researched the cast, and the only one that I knew very well at all was Nayah, who was on “Grey’s Anatomy.” I asked her how working this fantasy setting was different from working in her past projects, which were mostly set in the real world.
She agreed that this movie was the most extensive fantasy experience that she’s had. She maintained, “it’s not every day you are painted pink and waking up at 3:00 in the morning,” but she enjoyed it. Getting to play a monster is very different from real life. However, these monsters do “go through very real human experiences.” Of course that’s true because otherwise it wouldn’t be very relatable for viewers. She went on to say that her character, Draculaura, is “trying to find her place
in the monster world.” Similar to the other characters she’s played, they’re young kids growing up and trying to figure out who they are. She compared Draculaura to her character, Kimmie Park, in Grey’s. They both love to sing but are prevented from doing that, so they have “that same predicament.”
There were many other reporters there asking questions. The first one asked the cast what it was that they made them want to do the movie. Miia grew up loving “Monster High,” and she would “pretend to be Clawdeen Wolf and howl at the moon very
proudly in public.” She remembers that the show had a big impact on her, and it was great to identify with such a “cool character,” especially being “a person of color.” She’s glad to have the opportunity to do that for other children and to create “that safe space for kids everywhere.”
Ceci admitted that she was a “really weird kid” and liked spooky and creepy things. She also grew up “singing
and dancing.” The movie gave her an opportunity to sing, dance and be spooky on screen, so she loves it.
Nayah is another one who grew up watching old musicals, and being in a movie musical is her dream job. She’s also happy to be part of the MH franchise “with fashionable dolls and a really cool cartoon,” which she loved as a little girl.
Case is another one who loves live-action musicals, and it was a dream for him to do this.
Another reporter spoke touchingly about her daughter, who’s autistic and loves these characters. She had some questions from her little girl that she asked. She asked what the cast and producers there think about “old friends of the series” and how they’re “reacting to the new characters.” I think everyone here assumed that by “friends” she meant “fans” because that’s how they answered it.
Todd explained that they love the fans and value them. They made the movie because of how popular the series is. However, he knows that some people have complained about changes, but he believes that inclusion is important. He explained that Mattel decided that it was time to “change the body types and broaden some of the character histories to include more people.” He hopes that original fans will see how beautiful that message is and will enjoy the new dolls they come out with. The message is the same as it’s always been: “”All monsters welcome,” or as he said, “Be unique, be a monster, be yourself, and you
are invited.” EP Phil added in his own opinion that they love how passionate the fans are. He said, “We like to consider them our alumni.” He confided that he has to pre-teen daughters who are part of that group. He explained that “The
core tenants of the brand are still there from the inclusion and diversity and community, but most of all a sense of friendship.” He ended by saying, “We are excited about introducing this new world to a whole new group of kids.”
Miia was asked to discuss her musical background and whether she was surprised that she was able to get the chance to do a musical on TV. Miia told us that she grew up “in the musical theater world” and has been training her singing and dancing talents since she was 8. Once she hit high school, developed a “deep passion for songwriting,” which led to her singing publicly for money in her hometown. Professionally, she’s mostly done acting, but she’s always wanted to include music as well, so to do both things she loves is “a dream come true.” She said that she’s “a very happy monster.”
The same reporter asked if Todd or Adam wanted to add about the fun of creating the new music. Adam told us that the music mixes “many different genres,” with all of them having something creepy in them, thanks to Todd’s guidance. They tried to give all of their songs “their own really unique MONSTER HIGH personality.” He praised the cast members for being so talented in acting, singing and dancing. Also, they had to do all of their casting over Zoom. The cast blew them away with their auditions in spite of the limitations.
Todd spoke about how crazy it was to do try to get the songs and have them performed in such a short amount of time, which he had never done before. Musicals are new to him. He has 12-year-old daughters who are triplets, so they helped him choose the songs to use. Some of the songs they didn’t choose for the final cut were used in the background of the movie. He also mentioned that Nayah performs “with her Nickelodeon band Good News Girls.”
Phil chimed in again to praise the production, the music and the performers.
Next, the cast were asked which was most difficult: Singing, dancing or something else?
Miia piped up to say that she loves dancing, but having to do them in very tall monster boots, with little “peripheral vision” (because of the monster contact lenses) was challenging.
Todd concurred, saying that whenever Miia stumbled, she would say, “I’m okay!” and they were always asking, “Are you all right?”
Adam pointed out that they had to always hide her human ears under the wig (since she has costume wolf ears), but she was always concerned about her eyes popping out during the musical numbers. He said that the actors had a lot of those type of things to worry about while also singing and dancing.
Case gave his point-of-view that “keeping it all together at the end of the day” could be tough because of the long days, but he said that when it all came together through all the hard work, it was worth it. He also added that being all together in it “was the best part.”
Ceci said that what was tough for her was dancing with a big wig. She’s used to ballet dancing, where your hair is usually slicked back. She noted that all of their “amazing dancers” had to do the same thing, but with really big shoes. She thinks it looks “effortless” on screen, so she’s excited for everyone to see it. She thinks the filmed version looks more “relaxed” that how “stressed and diligent” they were during filming.
The next press person asked about how tough it was to take an animated show and make it a live-action musical and whether anyone had any criticism about it.
Todd admitted that it’s difficult to take a cartoon character or doll and translate that into a regular teen. They had to adapt and change things that didn’t work. There were a lot of conversations between them and Nickelodeon and Mattel to try to find the right look of the characters. That was difficult, and then how to make the live action people look realistic, like making “Frankie” blue and look real, not like “Halloween makeup.” He praised their “brilliant department heads in hair, makeup, and costumes that worked very hard” to make it all work.
Adam and Phil complimented Todd for his vision in wanting the “monster world” to be fun but also more believable. They didn’t want it to look like a cartoon. They hired “a brilliant production designer named Fred Andrews, who was just so smart and brought a level of sophistication to creating this world in Vancouver.” He had to create this scary school that doesn’t really exist, from scratch.
Phil noted that the main point of the show is friendship and being your “authentic self.” He credits the actors for bringing these characters to life in that way.
The actors were asked if they were big fans of Halloween and how they celebrate it.
Ceci reiterated that she loves anything “spooky and scary.” She and her brother have a “Halloween movie marathon” of scary or fun-scary movies for a month. She mentioned “Heathers,” “Hocus Pocus” and the Peanuts Halloween special. She hopes that others that love watching these movies will add “Monster High” to their list.
Nayah told us that she loves the scary mazes at places like Universal and Knott’s Berry Farm (in Southern California). She plans to go to the maze that has “OG monsters like Dracula and Frankenstein.” She joked that she plans to go there and take a picture with Dracula, her father (in the movie). She loves to dress up in costume as well. During the filming of the movie, Halloween occurred, so they all dressed up like scary characters from “The Wizard of Oz.”
Miia said that going to work on this movie was like “Halloween every single day,” which to her was “really cool.” She loves Halloween and dressing up. She plans to dress up this year “as the plant in ‘Léon: The Professional.'”
Case also said that he loves Halloween and dressing up, but he’s looking forward to next year when there are people dressing up as the characters from “Monster High: The Movie.”
MONSTER HIGH: THE MOVIE premieres Thursday, October 6th, on Paramount+ and that same evening at 7 p.m. ET/PT on Nickelodeon.
MATTEL, NICKELODEON AND PARAMOUNT+ DEBUT TRAILER FOR MONSTER HIGH: THE MOVIE, LIVE-ACTION MUSICAL PREMIERING THURSDAY, OCT. 6
EL SEGUNDO, Calif. and HOLLYWOOD, Calif., June 30, 2022 /PRNewswire/ — Mattel, Inc. (NASDAQ: MAT), Nickelodeon and Paramount+ today revealed the premiere date and trailer for Monster High: The Movie, a live-action movie musical based on the iconic Monster High franchise about the children of famous monsters and creatures. Monster High: The Movie premieres Thursday, Oct. 6, at 7 p.m. (ET/PT) on Nickelodeon and streams that same day on Paramount+. The movie will encore on Nickelodeon on Friday, Oct.7, and Saturday, Oct. 8, at 7 p.m. (ET/PT). Internationally, the movie will premiere on Nickelodeon and Paramount+, beginning Oct. 6.
Monster High: The Movie
Monster High: The Movie follows Clawdeen Wolf (Miia Harris, Just Beyond), who was born half human and half werewolf, after she arrives at her new school, Monster High. She quickly makes friends with her classmates Frankie Stein (Ceci Balagot, Dispatches from Elsewhere) and Draculaura (Nayah Damasen, Grey’s Anatomy), and for the first time in her life, Clawdeen feels like she has finally found a place where she fits in and can truly be herself, despite keeping her human half a secret. When a devious plan to destroy Monster High threatens to reveal her real identity, Clawdeen must learn to embrace her true monster heart and find a way to save the day alongside her new friends.
Monster High: The Movie also stars: Case Walker (The Other Two) as Deuce Gorgon; Kyle Selig (Mean Girls on Broadway) as Mr. Komos; Marci T. House (Day of the Dead) as Headmistress Bloodgood; Scotch Ellis Loring (Firehouse Dog) as Clawdeen’s dad, Apollo; Steve Valentine (Mom) as Draculaura’s dad, Dracula; Jy Prishkulnik (Just Beyond) as Cleo de Nile; Lina Lecompte (Death Pursuit) as Lagoona; Justin Derickson (When the Streetlights Go On) as Heath Burns; Lilah Fitzgerald (Honey Girls) as Ghoulia; and Nasiv Sall (Descendants 2) as Abbey Bominable. Additional fan-favorite characters from the Monster High universe will also be seen throughout the movie.
In addition to Monster High: The Movie, an animated series based off the beloved Mattel franchise is slated to premiere later this year on Nickelodeon. Both projects join other Mattel Television content in production, including series and specials based on Barbie, Masters of the Universe, Thomas & Friends, Polly Pocket, Pictionary and Fireman Sam, to name a few. Mattel first introduced Monster High in 2010, and it quickly became one of the most successful and beloved kids’ properties of all time. The franchise seeks to foster a more accepting world where everyone is proud to be their authentic self, which is more relevant than ever. Today, Monster High is back with a reimagined set of fangtastic characters, inspired by the original ghouls, for a new generation that embraces what makes them unique and rallies people everywhere to express themselves.
Monster High: The Movie is directed and executive produced by Todd Holland (The Real O’Neals, Malcolm in the Middle, Firehouse Dog). The story is by Jenny Jaffe (Big Hero 6: The Series, Rugrats), Greg Erb, and Jason Oremland (Princess and the Frog, Playmobil: The Movie), and the teleplay is by Jaffe and Billy & Matt Eddy (Zapped, Teen Beach Movie). Adam Bonnett (Descendants franchise, Masters of the Universe: Revelation) serves as executive producer. Frederic Soulie, Senior Vice President & General Manager of Mattel Television and Phil Breman, Vice President of Live Action Development, oversee the movie for Mattel and serve as executive producers. Production on Monster High: The Movie for Nickelodeon is overseen by Zack Olin and Shauna Phelan, Co-Heads of Nickelodeon & Awesomeness Live-Action, along with executives Lee Rosenthal, Linda Halder and Jules Kovisars.
About Mattel Mattel is a leading global toy company and owner of one of the strongest catalogs of children’s and family entertainment franchises in the world. We create innovative products and experiences that inspire, entertain, and develop children through play. We engage consumers through our portfolio of iconic brands, including Barbie®, Hot Wheels®, Fisher-Price®, American Girl®, Thomas & Friends®, UNO®, Masters of the Universe®, Monster High® and MEGA®, as well as other popular intellectual properties that we own or license in partnership with global entertainment companies. Our offerings include film and television content, gaming, music, and live events. We operate in 35 locations and our products are available in more than 150 countries in collaboration with the world’s leading retail and ecommerce companies. Since its founding in 1945, Mattel is proud to be a trusted partner in empowering children to explore the wonder of childhood and reach their full potential. Visit us online at mattel.com.
About Nickelodeon Nickelodeon, now in its 43rd year, is the number-one entertainment brand for kids. It has built a diverse, global business by putting kids first in everything it does. The brand includes television programming and production in the United States and around the world, plus consumer products, digital, location-based experiences, publishing and feature films. For more information or artwork, visit http://www.nickpress.com. Nickelodeon is a part of Paramount’s (Nasdaq: PARA, PARAA) global portfolio of multimedia entertainment brands.
About Paramount+ Paramount+, a direct-to-consumer digital subscription video on-demand and live streaming service, combines live sports, breaking news and a mountain of entertainment. The premium streaming service features an expansive library of original series, hit shows and popular movies across every genre from world-renowned brands and production studios, including BET, CBS, Comedy Central, MTV, Nickelodeon, Paramount Pictures and the Smithsonian Channel. The service is also the streaming home to unmatched sports programming, including every CBS Sports event, from golf to football to basketball and more, plus exclusive streaming rights for major sports properties, including some of the world’s biggest and most popular soccer leagues. Paramount+ also enables subscribers to stream local CBS stations live across the U.S. in addition to the ability to stream CBS News Streaming Network for 24/7 news, CBS Sports HQ for sports news and analysis and ET Live for entertainment coverage.
For more information about Paramount+, please visit www.paramountplus.com and follow @ParamountPlus on social platforms.
PARAMOUNT+ PEAK SCREAMING RETURNS WITH MORE THAN DOUBLE THE SCARES
The Horror and Thriller Film Collection Includes the Highly Anticipated Premiere of “Significant Other” and Popular Horror Franchises Such as “A Quiet Place,” “Scream,” “I Know What You Did Last Summer,” “Paranormal Activity” and “The Descent”
Family Fright Night Favorites Include the Debut of “Monster High the Movie,” Plus Halloween Episodes from “Big Nate,” “SpongeBob SquarePants,” “PAW Patrol” and More
NEW YORK – Sept. 22, 2022 – The Paramount+ Peak Screaming collection returns to the service today with an expanded screaming and streaming collection just in time for Halloween. The collection features more than double the programming from last year, including highly anticipated new originals, fan-favorite horror movies and iconic Halloween episodes from beloved series. This year’s seasonal collection will include the debut of MONSTER HIGH THE MOVIE (Thursday, Oct. 6), a brand-new live-action musical from Nickelodeon; the exclusive premiere of new thriller movies such as SIGNIFICANT OTHER (Friday, Oct. 7); the release of an all-new special Halloween episode of GHOSTS (Thursday, Oct. 27) and more. The Halloween-themed content on Paramount+ can be found here.
The thematic library, which includes entertainment for everyone in the household, is thoughtfully curated into subgenres to enhance discovery. Carousels within the Peak Screaming collection include:
Big Screen’s Big Screams: Blockbuster hits such as A QUIET PLACE, THE RING, THE DESCENT, WORLD WAR Z and 10 CLOVERFIELD LANE.
Buried Gems: Chilling thrillers such as THE BABYSITTER, as well as horror films like SPELL and SAINT MAUD.
Slash Hits: Spine-chilling films such as ORPHAN: FIRST KILL, SCREAM, CANDYMAN and THE TOWN THAT DREADED SUNDOWN.
Suspenseful Series: Edge of your seat shows such as EVIL, PAROT, THE TWILIGHT ZONE and CRIMINAL MINDS.
Family Fright Night: Family favorites such as SABRINA THE TEENAGE WITCH, THE ADDAMS FAMILY and ARE YOU AFRAID OF THE DARK.
Nickelodeon Monster Fest!: Beloved Halloween episodes from popular Nickelodeon series such as BIG NATE, SPONGEBOB SQUAREPANTS, PAW PATROL and BLUE’S CLUES.
Spooktacular CBS: Iconic Halloween episodes from some of the most popular CBS series, including BEVERLY HILLS, 90210, BLUE BLOODS, CHEERS, FRASIER and GHOSTS, which returns for its second season on Thursday, Sept. 29. The frightfully funny series will also debut a special Halloween episode, “Halloween 2: The Ghosts of Hetty’s Past,” on Thursday, Oct. 27.
Chilling Classics: Timeless films such as NIGHT OF THE LIVING DEAD, PROPHECY, DEMENTIA 13 and ATTACK OF THE GIANT LEECHES.
Teen Wolf: The Beginning: The complete original series of TEEN WOLF, including popular episodes such as “Wolf Moon,” “Second Chance at First Line,” “Lunatic” and “Code Breaker.”
In October, the movie collection will grow again to include even more genre-defining hits and cult classics such as THE GRUDGE, I KNOW WHAT YOU DID LAST SUMMER, SHUTTER ISLAND, JENNIFER’S BODY, ANNIHILATION and INVASION OF THE BODY SNATCHERS, among others.
Paramount+ with SHOWTIME® bundle subscribers can stream the SHOWTIME Bloody Good collection of series and movies, including the Showtime Original Series premiere of LET THE RIGHT ONE IN on Friday, Oct. 7, plus other killer series like DEXTER®: NEW BLOOD and Emmy-nominated YELLOWJACKETS. Fright fans can also watch the latest installment of the legendary franchise SCREAM (2022), horror hits from A24 like X, MIDSOMMAR and HEREDITARY, and other perennial Halloween favorites including THE SILENCE OF THE LAMBS and ROSEMARY’S BABY. The bundle is currently offered at a special introductory pricing of $7.99 per month for the Essential Plan and $12.99 per month for the Premium Plan through Oct. 2.
The Peak Screaming collection is available to stream now. To view the Peak Screaming trailer, click here.
For more information about Paramount+, please visit www.paramountplus.com and follow @ParamountPlus on social platforms.
Interview with actors Katherine McNamara, Matt Barr, Greg Hovanessian, Lawrence Kao, Philemon Chambers, Gabriela Quezada, Katie Findlay, Justin Johnson Cortez; and Executive Producers Jared Padalecki, Seamus Fahey and Anna Fricke on The CW by Krista 9/22/22
This was an interesting panel for this new show, which is a spin-off of the hit series “Walker” on The CW. Both shows air Thursdays starting Oct. 6. Unfortunately, they had a lot of press there, with a big cast who liked to chat, so I was not called on to ask a question. I enjoyed it, though. NOTE: This transcript below was provided by The CW. There are some mistakes in it.
THE CW NETWORK
Walker Independence
Seamus Fahey, Anna Fricke, Jared Padalecki, Lawrence Kao, Greg Hovanessian, Philemon Chambers, Gabriela Quezada, Katie Findlay, Katherine McNamara, Matt Barr, Justin Johnson Cortez
HOST: Good morning, y’all! Welcome to the virtual press panel for Walker Independence, our brand new series and origin story to our hit series, Walker. Walker independence is from CBS television studios and premieres on Thursday, October 6th, at 9:00 PM on The CW. Our executive producers like to call this a remix of a Western, and we’re thrilled to be bringing this genre to the CW. Set in the late 1800s, Walker Independence follows Abby Walker, an affluent and tough-minded Bostonian whose husband is murdered before her eyes, while on their journey out West.
After crossing paths with Calian and a curious Apache tracker, Abby arrives in the town of independence, Texas, where she encounters diverse and eclectic residents running from their pasts, chasing their dreams, and keeping their own secrets, including Kate Carver, an idiosyncratic burlesque dancer with perhaps too keen an interest in Abby’s origins. And Kai, a soulful Chinese immigrant who runs a local restaurant/laundry and offers Abbey friendship without agenda.
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Abby also literally runs into Hoyt Rawlins, a slippery rogue thief and con artist with a dented heart of gold, who quickly eyes Abby as a mark until she turns the tables on him. In seeking justice for her husband, Abby encounters Independence’s noble deputy sheriff Augustus, and his new boss, Sheriff Tom Davidson, who she has reason to believe is a very bad man, indeed. Abby and Hoyt soon find themselves precariously aligned, both seeking to uncover the truth about the identity of her husband’s killer as they navigate the dusty roads of Independence, a frontier boom town, where nothing is what it seems. Old West, new rules.
Now we’ve had our premier episode available for everyone to view since June, and have just added two episodes, 2 and 3, to the press site this week. So we hope you’re all very familiar now with Walker independence. So please welcome the cast and executive producers of Walker Independence and starting here on the back row, in the left, we have Lawrence Kao as Kai. Greg Hovanessian as Tom Davidson. Philemon Chambers as Augustus, or Gus. Gabriela Quezada as Lucia Reyes.
And then moving up to our front row on the left. We have Katie Findlay as Kate Carver, Katherine McNamara as Abby Walker, Matt Barr as Hoyt Rawlins. And Justin Johnson Cortez as Calian. Also say hello to our executive producers. Show runner and executive producer, Seamus Kevin Fahey. And executive producers, Anna Fricke and Walker himself, executive producer Jared Padalecki.
We’re so excited to have you all with us this morning. Thank you so much. And as a reminder to the press, if you’d like to ask a question, please click the “raise your hand” button, and we will put you in the queue and call on you when it’s your turn. If You have a two part question or follow-up, please let us know that this, please let us know this at the top of the question. And no photography or screen grabs or anything from this event on social media. Thank you so much. And first up, we have Jamie Ruby with Rick Bentley on standby. Jamie to you.
JAMIE: Hi, thanks so much for talking to us this morning. So this is for the cast. Can you talk about sort of how these costumes inform your character and maybe some of the difficulties you’ve had with them?
KATHERINE: Well, I’ll, I’ll speak.
PHILEMON: You start, you start. Yeah, yeah, yeah.
KATHERINE: Shall I start?
MATT: Yeah. Ladies have fun with this one.
KATHERINE: Ladies first, and it is the 1870s. You know, we have the most amazing wardrobe department. Marian Toy is our brilliant costume designer and she has taken such care to make sure everything is as historically- accurate as possible. And that comes down to us wearing corset. And a lot of these dresses, this one in particular, that is actually vintage from some year, I’m not, I don’t think it’s from 1870, but it is as historically accurate as possible.
And it really does change how you move, and how you walk and how you just exist in space. And you know, we have such an amazing cast of characters that has such a diverse wardrobe. But I will say that our women’s shoes in the 1870s were not made for function.
(audio problem here)
KATIE: Not, everything in the 1870s was built to keep women from running and carrying things. Not good.
KATHERINE: Keep us in our place. And getting on horses.
KATIE: And getting on horses, [UNINTELLIGIBLE] with any goods of any kind. (It’s true) Not a [INAUDIBLE].
KATHERINE: Although, they do give us pockets.
KATIE: They give you pockets.
PHILEMON: They give you pockets.
KATIE: But the reason here, the reason I don’t have pockets is because, so like, Kat was saying, Marion Toy is maybe one of the smartest people I’ve ever met in my life. A lot of my stuff, cause Kate’s a bit of a fashion plate is, is borrowed from vintage collections as opposed to made. So I don’t get pockets, but then I’m also wearing things that are so beautiful, I’m terrified to sit down because if I rip, like they’re so old. And if I have one tiny rip, I feel like I’ve let history down. So… Hey, does anybody else wanna talk about [OVERLAPPING]
GREG: The corset stance too, to make it more comfortable.
KATIE: So you prop yourself up on your own bones a lot when you get tired.
GREG: The squat move.
(Overlapping chatter)
Send you guys a photo. I’ll send you…
JARED PADALECK: I’ll post it.
JUSTIN: Yeah please do Jared, Jared has it.
KATIE: You’re so charming.
JUSTIN: Yeah, I wore it for about seven minutes and uh, it wasn’t fun at all. So…
GABRIELA: I think all the men on set should wear corsets.
(Overlapping chatter)
SEAMUS: I thought we talked about no spoilers, but we’ll embrace them.
KATHERINE: Already, first question, spoilers.
KATIE: Justin, you have interesting costume stuff though.
JUSTIN: I do, I do I, I mean, I, I love my costume.
MATT: It’s a little breezy in there.
Show us the back, Justin.
GABRIELA: We need to see your thigh.
Yeah, I want to see the back.
Do you have a runway?
JUSTIN: But, I asked for legit leggings. That way I could have some breathing…
KATHERINE: It’s up to your imagination.
PHILEMON: We will not go further into that.
GREG: But every, every once in a while we’ll I, I’ll go to set for a rehearsal and I’ll be in my street clothes. And we do the blocking and it’s weird. It’s so weird because you’re not in costume and the costume is just everything. When you put that gun belt on, with the weight of the revolver and the bullets and the badge. It changes everything.
KATIE: Greg’s got a cool hat too.
PHILEMON: I’ve been meaning to talk to you about this gun belt now. Okay, look, when you’re running in a gun belt, it don’t work.
It bounces around.
PHILEMON: It bounces around.
(Overlapping chatter)
KATIE: I have so many videos of Philly trying to run in a gun belt. I say that like it’s a joke, maybe five or six, honestly.
Ten-pound pound thing around your waist.
(Overlapping chatter)
JUSTIN: Nobody answered that in a good way.
MATT: Here’s a red light. I was like, is that good or bad?
JAMIE: Well, okay. How about this? I will ask a follow up then. Um, can you guys talk about sort of how the, like the, I guess the seed of the idea to go from the other show to this as being the prequel, like sort of how that came about?
SEAMUS: Sure. Um, Anna and I were working on Walker, and basically there was a beloved character named Hoyt Rawlins that we decided to kill off. And we kind of regretted it, to be honest. And, and so we started to think about what did we do wrong with our lives, but also with that creative choice. And so it kinda started with just a text to Anna saying like, well, what if we went back to the first generation Walkers and, and Hoyt Rawlins was part of the, part of the ride. And a couple texts later and all of a sudden Jared’s on the hook and studio’s excited and it kind of just went from there, and we just built momentum and developed the pitch. And, and so there’s a lot of Easter eggs with Walker that we’re gonna do more and more. But, you know, we wanted it to kind of stand on its own and be its own thing, be the first generation and figure out like, what are all the expectations people might have. And how do we, how do we subvert them? How do we kind of have a fresh approach, new take to, to the proceedings and kind of just kept building with that in mind and that approach.
MATT: I remember when, when Seamus was like, Hey, you know what, what if we went back in time? And I’m like, what, like two years before? He’s like, he’s like, he’s like maybe like 150. Love it.
KATIE: So really what you’re saying is that Matt Barr just caused an existential crisis for you, like he does for the rest of us.
KATHERINE: It makes perfect sense.
KATIE: I don’t know what waking up every morning looking like that is like, I can’t, I can’t relate.
GREG: Oh, terrible.
HOST: So next up, thank you so much, Jamie. Next we have Rick Bentley and on deck is going to be Vlada Gelman.
RICK: Thank you. Can you hear me? Hey, Katherine, two-part question. First off, following up on that previous question, how do you see Abby as sort of setting the, the bar or for the legacy of Walker to follow her? And secondly, you seem to be always attracted to roles that aren’t set in just a modern-day person. I mean, they’re, they’re costume roles, they’re different time per-, those sort of thing. Is that something you’re attracted to or, or are casting people just see you in those roles?
KATHERINE: You know, it’s interesting you say that because for years when they ask an actor the question, you know, what’s your dream role? I would always say, a period piece, you know, put me in a corset and a hoop skirt and I’m a, I’m a happy girl. And I guess manifestation works cause here I am. But no it’s, it really is an honor to kind of do something entirely different. And some, I love that somewhere in the CW verse, I’m Stephen Amell’s daughter 20 years in the future, but also Jared Padalecki’s great, great, great, great grandmother. Works for me. [LAUGHS] But somebody out that timeline and I’m, I’m very, very much can’t wait to hear.
But no, when it came to this character and this role in particular, it’s not necessarily something I look for it, it just sort of happened to be what fell into my lap. You know, I’m always attracted to characters that are challenging and that have interesting stories to tell. And this was that. You know, we read the pilot and Seamus had created such a wonderful world of characters that still felt as though it was akin to the world of Walker, but something new and something fresh in a genre that held so much nostalgia and so much familiarity for so many people.
So it’s a new opportunity kind of give a new look at a part of history that a lot of people feel they know. Also, I do have big boots to fill with the Walker legacy that our lovely Mr. Padalecki has set out for us.
RICK: Thank you.
JARED: She just meant literally bigger, I have big feet. That’s all she meant by it.
HOST: Next up we have Vlada Gelman and on deck is Damian Holbrook. Go ahead Vlada.
VLADA: Hi everyone. Thank you so much for doing this. I wanted to ask a little bit more about Hoyt, because obviously we saw a version Hoyt on the original Walker series. So can you talk about how this Hoyt differs or compares to that Hoyt. And Matt, how did that kind of inform your performance?
MATT: Yeah, you know, I always thought of the modern day Hoyt as like a golden retriever with an unloaded gun. And 1800’s Hoyt is maybe like a, like a German shepherd, you know, he’s, he’s nice until you cross him. And then he is, he’s gonna bite. 1800’s Hoyt’s more dangerous. I think in the wild west you kind of had to be to survive. So I wanted to see that sort of DNA in him. But I also liked the idea that you can’t really outrun your fate. And so, there was that consistent kind of recklessness in the Rawlins’ DNA that just, you know, as we meet Hoyt 150 years later, they’re still, you know, still trying to figure things out and get in his own way. Um, and they’re equally charming, aren’t they? I mean, they have to be right? (Very charming)
KATHERINE: It’s true. It’s hard to compare. There’s no comparison. That Rawlins’ charm is genetic, that’s for sure.
PHILEMON: It’s, it’s a thing.
MATT: Yeah. I wanted to, I want to differentiate them, but also, you know, feel very much that same kind of core bloodline there.
VLADA: Thank you.
HOST: Thanks, Vlada. So next up will be Damian Holbrook. And then on deck we have Josiah Soto. Damian, go ahead.
DAMIAN: Hey everybody. Um, so it’s good to see everyone. And I want to know about cowboy camp. And did the producers go and participate as well?
(Overlapping chatter)
PHILEMON: They were there in spirit.
KATIE: I’m the only one now.
PHILEMON: Cowboy camp was fun.
GREG: I’m waiting to do it with Katie Finley and she hasn’t kind of responded back.
KATIE: You and I have a, have a talk to have. I, so just, just to put this out in the open, I told Seamus that if I didn’t ride a horse by Episode 5, I was walking off the show. I am now the only person who was not ridden a horse. And I think I’m gonna trade it for a pony, cause I didn’t know we had ponies until a week ago and I love them.
KATHERINE: They are adorable. But they’re twins, aren’t they?
KATIE: Talk to a real person. Don’t talk to me.
DAMIAN: So how was, how was cowboy camp? Who excelled?
PHILEMON: Uh, we all did.
LAWRENCE: I was gonna walk off the show yesterday, but then I decided not to, because they finally allowed me to go to cowboy camp. They finally did.
KATIE: I lost my only ally.
(Overlapping chatter)
KATIE: You were my only person.
LAWRENCE: We’ll go, we’ll go riding next week.
KATHERINE: Also did enjoy cowboy camp with Justin.
MATT: I think our first day at cowboy camp, we’re all like saddling up. And then everyone’s like, where’s Justin and he’s like hauling ass, you know, just loping with this horse [OVERLAPPING].
He’s already on top of a mountain.
MATT: In your element.
JUSTIN: This is when the hair grew. It just grew.
MATT: That’s right. That’s right.
KATHERINE: No, cowboy camp was a lot of fun. You know, we all had, I had a very different experience than most the other guys. I had to learn how to ride with Justin, with Matt, backwards on a horse with Matt, for the pilot. And then now, Abby has her own horse. And that whole arc has been a really interesting relationship getting to watch all of these guys do such amazing things and then joining the team myself.
MATT: It’s kind of bonding for us too. You know, we all, we all were getting to know each other, you know, as we’re starting this journey together, hopefully for many years. And getting out there, riding together just was pretty special.
KATHERINE: And there’s nothing like it. I mean the office that we have, being our town is just the most beautiful place in the world.
MATT: Yeah.
PHILEMON: And there are some beautiful shots on those horses. And I gotta give a shout out to Rainman. Thank you so much.
(Overlapping chatter)
GEORGE: And T for being a butthead for trying to buck me off all the time.
KATIE: I would too. Any of us would.
MATT: You know, Philly… Nicholas… Philly, Nicholas Cage said Rainman tried to kill him in one movie.
GREG: Oh!
MATT: You, you love him, so… Oh, Rainman loves
(Overlapping chatter)
GREG: That’s A true story.
PHILEMON: Nicholas, if you are listening, Rainman is great.
MATT: He is good.
PHILEMON: Okay? Thank you.
(Overlapping chatter)
KATIE: My horse is also great.
GREG: What horse?
KATHERINE: Thank you.
HOST: So thank you very much, Damian, I appreciate it. Next up is Josiah and on deck is Luaine Lee. Go ahead Josiah.
MATT: Josiah, you around.
JUSTIN: Thank you, Josiah. I’ll take that question. Uh, so I think when we start…
(Overlapping chatter)
JOSIAH: I’m so sorry. Can you hear me? I’m so sorry, I don’t know why it was glitching like that, but thank you so much for letting me ask a question. Um, I just kind of wanted to ask more like of a general question to, like I guess, like the entire cast there’s a lot of like, I guess, conversation about method acting or just different methods actors take to, I guess prepare for their certain roles. I guess just like how different was it for each of you to, I guess just prepare and also like what steps did you take, I guess, to like, just in advance, if that makes sense.
JUSTIN: As you can see I’m in my wardrobe.
(Overlapping chatter)
KATHERINE: Jokes aside, for us as a, as a group, at least, what I’ve felt is such a comradery. You know, we really have built this community together personally and among our characters. And I, I think you see that on screen. You know, all of us genuinely enjoy working together and genuinely enjoy finding these character relationships and bringing them to life and seeing how they grow and change. And that’s been the most fun for me is, you know, diving into a time that’s so foreign to all of us.
MATT: I think sometimes you work from the inside out. And I think with our show too, like we were talking about earlier, the wardrobe, you walk onto our set, which is like this Western town, you know, in New Mexico. It’s beautiful and you’re, there’s horses and there’s goats and there’s, you know, all these, these beautiful background actors. And it’s like, you’ve time-traveled back in time. So it’s very easy to just walk right into that character and, it’s, or maybe it’s a crutch. I don’t know.
PHILEMON: No, I found the wardrobe and the setting…
KATHERINE: Special group of people.
JUSTIN: Yeah. The wardrobe and the setting definitely informs, you know, I think how we’re working in this show in particular. Like Greg said earlier, and Matt just said. It’s like, if we’re doing it in our daily clothes, it’s just not really gonna work. It’s kind of hard to get in the head space. Um, but for me personally, what I’ve loved about this cast is, if I come to them and want to talk about our relationships in the show, or whatever it is, and everyone’s extremely open, you don’t always get that. Some people are very closed off and, or maybe they don’t make time. But everyone’s been amazing when it comes to, you know, meeting up. “Let’s talk about, you know, where are we coming from? How do you feel about this?” And, and it’s extremely valuable and I appreciate it.
PHILEMON: Agreed, agreed. I mean, you know, it’s, I count it as a joy really to just work off of all of you. Because it is so nice and everybody’s just so good at their job, you know? I mean, no words, no words.
KATIE: I think that we also, I don’t know if anybody’s deep enough into the internet to know what a head canon is. It, our head cannons for each other on this show, are we could write a whole extra show about how excited we all are to hang out. And when, like we realized uh… before Justin and I had ever met on the show, we were taking one prom photo per official photo shoot, until we met on the show. Like, we’re all so excited to be here together. And we write little storylines for each other, with each other constantly, and poor Seamus is like, “All right, guys, come on, like I’m writing an actual television program, can you calm down.”
MATT: You know, for years I’ve been trying to find excuses, not to shower as much. So…
PHILEMON: That is, that is very true. No, that is very true.
MATT: I’m a method actor now.
PHILEMON: Yeah, you are, yeah you are.
Can we go back to the fact that… I don’t know if anyone noticed…
GREG: The bond that we all had from day one is a very special relationship that we’ve all developed. And it just creates this, this really safe space where there’s a lot of trust where we can all be really vulnerable and kind of experiment and go the distance. And just this support of all of it really allows for a, you know, very experimental-type safe space, which helps a lot. Especially, you know, playing evil where I, I kind of have to turn it on and off. Here comes the hand…
PHILEMON: I was gonna say, I’m gonna cover your mouth.
KATIE: Greg’s evil in real life. So it helps.
GREG: I’M, I’m nothing like the character, so there’s gotta be, completely the opposite. I’m like a, a boy, like four-year-old goofy…
KATIE: Greg’s a Great Dane puppy.
PHILEMON: Me and Katie can actually, you know, prove that Greg is nothing like his character.
KATIE: Yeah. I have, I have a bunch of blackmail materials.
GREG: So that, that you know, safe space to be able to turn on and off like that and, and completely go outta my skin around all these beautiful people is, is very special. Yeah. It’s just so… Way too much love here.
GREG: It’s such a joy, it’s, it’s such a joy to be working with everyone here.
KATHERINE: No, but it’s true. The world of the west is not always the most happy place to be, for lack of a better word. And to have this group of people just sort of carry each other through emotionally on those days where we have several emotional scenes stacked together and, and these things that we, we feed off of each other’s energy and, and the commitment to the character and the commitment to the story. And it’s really a beautiful, wonderful place to work.
KATIE: It is, she’s right.
LAWRENCE: I also think like character-wise for all of our characters, we’re all going through like the same kind of thing. Like everyone’s trying to find themselves in this town, like, we’re all trying to find our identity. We’re all like starting off, like on a fresh start, like having new beginnings, like every single character. And I think that’s what, like brings us together too.
PHILEMON: Agreed, community.
GREG: It’s evolving. It’s evolving.
PHILEMON: Community.
HOST: Next up we have Luaine Lee and on deck will be Bruce Miller. Go ahead, Luaine.
LUAINE: Yes, it’s actually Lou-Ane. Uh, I’d like to ask Seamus and then Jared, there is a Renaissance of westerns. Where do you think that started and why?
SEAMUS: You want to go first Texan? Or do you want, you want the…
JARED: Uh, I’ll defer to the boss and then I’ll chime in.
SEAMUS: Yeah, I mean, I don’t know. I, I, I grew up, my dad loved westerns, so I, I watched westerns with him, and it was more interesting of like, which ones did my mom like? And just like, come at it more than like just the ones that dad liked. So I always had like a little bit of like, instead of just Butch Cassidy, what’s like McCabe and Mrs. Miller. What’s the little Western that’s a little off? And so I always loved them, the, the, the popular ones and the, you know, the obscure ones, One-Eyed Jacks, I think is one of the best westerns ever made, not many people talk about. So I think it always stayed with me. And I think it stayed with a lot of, a lot of folks, like creators and just people who, you know, rewatched ones. And I don’t know why it went dormant. Um, but obviously there’s Deadwood and gentleman by the name Taylor Sheridan, who kind of helped the revival. But, at the time, I think, I think there wasn’t a fresh take.
SEAMUS: It’s kinda what we were talking about earlier. I think part of the reason was we’d seen a lot of the same things like over and over again. So I, I think the revival kind of started. I mean, it, it was funny cause when Anna and I were talking about it and we looped in Jared, it was, there was a little bit of like, they’re never gonna bite. No one’s gonna do a Western. Um, and then a couple shows came out and just changed the landscape. Um, and, you know, The Harder They Fall came out and, and kind of just was a big splash. So I think, to me, I think it went dormant because no one had figured out, how do we come at it from a different way? And that’s why we say remix. It’s not a remix of history at all. We’re shining a light at history with, that was there, voices that are there. Margins of history that just wasn’t told.
It’s a remix of how it’s told – the filmmaking, the storytelling, how, how we cast the show. So, I think that’s, that’s what kind of helped the resurgence for this show. And I think that’s what’s helping the resurgence of, not just TV, but film, is like everyone’s coming at like, what haven’t we seen before? What are different voices we haven’t highlighted, and storylines, we, we kind of, haven’t seen before? And maybe starting with the expectation, the tropes, and then like, I was talking about earlier, figuring out ways to subvert it or twist it, or go for the unexpected, or go for something that’s a little uncomfortable and being patient with the storytelling to get someplace that we haven’t, haven’t seen. I think fundamentally that, that was the biggest thing.
JARED: Yeah. I think yeah, I, too kind of echo and, and go off on a bit of a tangent possibly. Well, first and foremost, I want to say
(Overlapping chatter)
SEAMUS: Jared, a tangent?
JARED: Seamus, I also love One-Eyed Jacks. I know you you’re upset that people don’t talk about it. Uh, we can talk about it. But I think you know, Seamus obviously, Seamus and Anna had the Western idea. And Seamus really spearheaded that. And I think, not just westerns, but I think genre stories in general. You know, I came from a, a show for 15 years, that was a sci-fi genre. And I think there’s a bit more freedom in telling a genre show. You know, you see this resurgence of superhero shows, and thrillers and sci-fi, and now westerns. And I think there’s some freedom that the, the actors and the writers are afforded. Because if you were to write some scenes like we have in Wendy that take place in 2022, people would be like, “Nah, this is BS,” and change the channel.
And so I think another part of it and kind of touch on what Kat was talking about earlier, Katherine, you know, the, the Old West wasn’t necessarily comfortable. And I guess I would say, you know, a version of that is it, it wasn’t conducive to comfort. And so there’s something about seeing characters in, in an unfamiliar situation, persevere and, and work to, to keep finding who they are, like Lawrence is talking about, and I think a lot of the, the cast has talked about. And I think that was something that really struck me during the casting process. You know, the, the writers, not only do they, do they create the road trip, you know, they say, Hey, you need to go from point A to point B, but they create the roadmap that it’s on in the first place.
And so you get some actors and actresses that come in and they get from point A to point B. May see somebody else come in and they go in a direction that you weren’t really expecting and get to point B faster, or more efficiently or better, or more emotionally. And so I think to, to a person, our cast, they came in and they were the character. And I think it was, I’ve never heard of a show that got every number-one pick. Always somebody has a conflict or, you know, they’re still tied into another show, they’re guest-starring on or something. But each and every single person, once we were watching all the videos, were like, oh, that person is already that person. I didn’t even see that.
And I think Seamus and Anna and the rest of the gang felt the same. But going back kind of closing the loop. Genre shows, specifically have a broader palette with which to play from. And so the Western, you know, it is making a resurgence and I think that’s wonderful.
LUAINE: Thank you.
HOST: Thank you, Luaine. And thanks for, thanks for correcting me. Next up is Bruce Miller, and then on deck is Bryan Cairns.
BRUCE: This is for the minority actors. What kind of responsibility do you feel in giving a new kind of performance, or a new kind of portrayal of minorities in the Old West? And you know, how, how do you deal with that? It must be very difficult. And then I have a follow-up for Matt. So if I could.
PHILEMON: Okay. Um… it is a heavy responsibility, because, not all the time have our characters been showcased properly in westerns. And nine times outta 10, we do get the shorter end of the stick. And it’s unfortunate, but with Seamus and Jared, our writers, everybody’s doing a great job at showcasing us fully. And I’ll tell a little story and then I’ll let you go. Um, it was a, a young black kid on set, he was one of the extras for the day, and his name was Elijah. And he was just so excited to be there. He was just like, “I watched Walker and I, I watched Walker, Texas Ranger, and I’m a big thing of westerns.” And I just saw the excitement in his eyes. And that’s the reason why I do it. Because I want a little boy to see themselves and say, I can be that. Cause when I was growing up, I didn’t see that in westerns. I didn’t see that in a lot of media. So for me it is a very rewarding feeling to be here and to do this with these amazing people. That’s it.
LAWRENCE: Yeah. And the fact that we can even just flesh out these kinds of characters, like back in the 1870s, like in, in a Western is like we, we never had the opportunity to do that. Just, just showing that we exist is already something in itself. And, yeah. You know, like I, I just feel like people normally would see a character that looks like me in a Western and, and you know, you would, it’s just, it’s just natural to look down upon a character like that. You know, we were never perceived in a, I guess in a cool light. And so just to, to exist in a way. Like even for Kai to be like, you know what, I’m gonna embrace this accent. I’m gonna make this accent cool. Like I’m gonna make this like character like soulful. You know, it’s a, it’s a, it’s just a cool opportunity. And it’s like a, it’s a huge responsibility, but um, it’s so much fun and I’m just so excited to be here.
PHILEMON: Wow, don’t cry.
GREG: Don’t cry.
JUSTIN: No, I could echo a lot of what they just said. Um, Native people obviously have always kind of been around the Western genre, and I think, I think people have come to expect them in that genre. And I, and I, I think they need, they deserve to have a place in there. So for me, it’s, it’s that I just wanna make sure we’re doing it in a way that is respectful, authentic, that makes this character feel like a complex human that people could relate to, and not just there to serve plot or serve another character. And a big part of the responsibility for me is to treat the Apache language and the Apache culture, with the respect it deserves. It’s, it’s one of the few times we’ve seen this language on screen.
JUSTIN: So the responsibility to do that right is, is heavy. And you know, I’m, I’m always doing my best, and I’m always nervous, you know, that, that people will, will kind of just not see the weight of that. So I hope people see how important it is that we’re hearing this, this language and people are gonna hear it all across the country, and maybe across the world and be incredible. And it’s, it’s a blessing. So I’m just thankful and, and I’m thankful to everyone behind it and, and everyone that’s supportive here, and, it’s exciting. It’s exciting. So I’ll rise to it., hopefully, and I’ll do my best.
PHILEMON: Oh, not hopefully. You’re doing, you’re doing it.
LAWRENCE: A quick one for Matt.
(Overlapping chatter)
GABRIELA: I just want to add that, the US, at the end of the day, is made up of different cultures. That’s what we are. And the fact that there’s so many stories that have never really been told is interesting. So, I think that’s what’s so exciting about the show, is that we’re able to show so many different cultures that existed during that time, and everyone’s stories, and you know, that’s what makes the US the US. So why, why not show it?
SEAMUS: I, I wanna hear what Katie has to say, if, she was about to say something too. But I wanted to give a shout out to Larry Teng really quick. (Yes, yes) You know, when we, we pitched it and you know, you go through the process, and when the pilot goes, you’re obviously looking for a director. And I had worked with Larry before, and back of my brain, I, I knew, I knew he was kind of a perfect match, not just because he’s a great filmmaker, he’s, he’s just a solid human being, and he’s a logistical genius, which we needed to pull off. But, you know, it, it was, it was a tough thing again, at that time, like when we were pitching in getting into the pilot, it was very tough to kind of sell a Western. And, and Larry was onboard right away, And he was very excited when, when we met and talked about it.
And I hope he doesn’t kill me if he ever hears this or whatever, but he got the vision and he just knew how to like sharpen the vision and expand the vision. Uh, but I remember asking him, I was like, when we were out there in New Mexico and filming, I was like, “I never asked, like, why, why did you really want to do it?” And, and it was tough for him to even answer, based on everything that like Philly and Lawrence is saying, just like, “I haven’t seen a Western like this and I’ve been waiting.” And, and he couldn’t even finish his sentence. And it just meant a lot. And, and kind of like, you know, Justin’s saying, just that, almost burden of responsibility of, we know we’re not gonna get everything right, but we’re gonna, we’re gonna try, we’re gonna fucking try.
And we’re gonna leave it all on the field and, and do our best. But that was kind of like, that moment was like a little bit of a rallying call. And it just kind of spread between like how we talked to crew, how we were putting together the crew, how, how we talked to cast, we were putting, to how we approach the story, everything. But it was, it was a huge moment in realizing like what, what we we’re about to embark upon, no doubt.
KATHERINE: We were so lucky to have Larry, because whenever you’re starting a series, you have to have that person who has the vision and who can be there to connect what’s on the page to what we’re all doing emotionally to what’s visually happening with the camera. And that was Larry, from the music to the camera, I mean, he had paintings on his vision board. He had all of these things that brought all of the elements of what the West is, all that nostalgia, but also added color and depth and interest and intrigue and all of this complexity, both in the way it was shot, to the way it was designed, to the way we played all of the moments. And it really added so much to make the pilot special. And that has kind of spurred us on, for lack of a better word, to continue on that. Thank you. I love puns. To continue on that, on that journey and on the trail with all these lovely folks.
GREG: Also his leadership as well, was what really set the tone and set the bar. And yeah, Larry left us with something to, to carry on forward. Um, and we miss him. We miss him a lot.
(Overlapping chatter)
SEAMUS: He’ll be back.
GREG: What, what he, what he started, he catalyzed something that was…
MATT: Justin just goes, “he’s not dead, you guys.”
KATHERINE: He’s alive
(Overlapping chatter)
GREG: He touched all of us. So, you know, and we all miss him. We all miss him. Thank you for that question, that was a great question.
LAWRENCE: Who’s Larry?
KATIE: You’re the worst person I’ve ever met in my life, and I want you to know that in front of all these people.
GREG: Come on, Lawrence.
HOST: You have a follow-up for Matt as well?
BRUCE: Yeah. I just have a quick one for Matt. And Matt, is there something that a viewer should look for that they would see that would connect the two characters?
MATT: Oh my gosh. They’re, I mean, like I said, I think they’re, they’re 90% of the… [JUSTIN POINTS TO BEARD]
KATIE: Have you seen this? Have you seen this? (The beard)
GREG: You woke up like that.
BRUCE: There’s not a gesture or anything that you would say, oh yeah, that’s something he would do?
MATT: Yeah. There’s a, there’s a, a wink. I think Hoyt has this sort of, he, he’s so amused by
(Overlapping chatter)
PHILEMON: Do it, do it.
Make him do it.
MATT: Ready? [WINKS]
Perfectly executed.
GREG: It got hot in here.
MATT: I think there’s a, I think there’s this little, there’s a little swagger, the way that Hoyt walks
(Overlapping chatter)
KATIE: It’s a walk that I can’t do cause
(Overlapping chatter)
PHILEMON: You’ll see it on behind the scenes stuff.
JARED: There are also some pretty great Easter eggs as part of the dialogue that Seamus threw in there that we can’t wait for the audience to see as they air, especially our crossover audience. Um, so yeah, I think, I think Matt is doing a great job of gingerly dancing around it, but there’s certainly a nod to the OG Hoyt. Or the, I guess it would be the new gangster. The old gangster.
MATT: Who’s the OG, Jared?
JARED: I guess you’re the OG now.
MATT: That’s right. That’s right.
KATHERINE: Matt Barr is the OG. That’s, that’s, end of story.
BRUCE: Thank you so much.
HOST: Thank you, Bruce. Next up is Bryan Cairns and on deck is Terrell Royster.
BRYAN CAIRNS: Hey guys, this question is for Katherine. Abby could have shot sheriff Davidson, but didn’t. Can you talk about what her sense of justice is? And in what ways is she redefining it as things are thrown at her?
KATHERINE: You know, with Abby, I think she’s a woman who’s a bit out of her time. You know, she is very well educated, very intelligent, but still somehow finds her in a world where she knows nothing. She has to completely start over her entire life, literally, you know, is gone in the first 15 minutes of our show, and stumbles into this town that is also finding itself. And it’s, it’s such an interesting opportunity to see a woman in this time period have such agency, and to be able to start over on a life that is for her, and to create her own destiny, while also trying to take revenge for the death of the love of her life. And try and find some sense of justice in a world where justice is always a shade of gray.
But that is one thing I love about all of these characters is that I think everyone has their own sense of justice, and their own drive, and their own way of moving through the world that they think is right, and something that they’re striving for, and something that they’re hiding. So, you know, as the series unfolds, we get to see the different kinds of justice that happen in the West and the different ways in which these characters can go about accomplishing that.
BRYAN: Thank you.
HOST: Thanks Bryan. Next up is Terrell Royster and on deck is Jennifer Griffin.
TARA: Hey guys, can you hear me? (Yes, loud and clear) All right, cool. This question goes out to the executive producers, obviously watching the pilot episode of Walker independence and, you know as Katherine said earlier, The CW verse at this point. Obviously there are actors in this show that have been in other shows. Are we in surprise for other, other actors, referring to Mark Shepherd that have been in other shows that we’re gonna see as the show goes on? Either this, either regular Walker, or Walker independence?
SEAMUS: Yes.
JARED: If they say yes, then I can say yes. So yes.
TARA: So those will be surprise guest stars.
SEAMUS: Yeah. Come on. You don’t want me to give away, right?
PHILEMON: No, no.
JARED: There are some people that there, there are some people from shows that also were on CW or WB back in the day, that are just perfect for certain roles. And I know that with Seamus and Anna’s knowledge of kind of the CW/WB lexicon, they probably have a few different actors in mind, they’re writing a few different things, and we’ll be sure to, to try and reach out to them, continue to reach out to them if, if the opportunity arises.
TARA: Cool. Thanks.
HOST: Next up is Jennifer Griffin and on deck is Briar. Go ahead, Jennifer.
JENNIFER: Hi guys. Uh, thanks for being here today. Uh, my question is for Anna and Katherine. And I have a quick follow-up then for anyone who wants to answer it. Um, but basically we don’t often see westerns that are told from a female perspective. And I was wondering if you could talk to that a little bit.
ANNA: I think just, just to jump in, I think first and foremost, when Seamus and I were talking about this, it’s as, as Seamus was saying, like watching the westerns with his dad and, and paying attention to what his mom also liked, I think is a big part of it. It’s like, we know we had this great world in Walker, and wanting to move forward and telling, you know, a remix with this spin on it. And what’s, what’s another point of view. And Walker is such a legacy story, obviously this is as well. And so, you know, we wanted to, to go back and tell it from that, from that origin essentially.
KATHERINE: I’ll follow up on that. You know, my, my favorite thing about my job is that I get to be a storyteller. And I think, you know, there are a few story tropes that are told over and over again. But, what makes stories interesting is when you find a new perspective, and a part of that story, or her perspective on that story that has not yet been told. Or has not yet been told in a certain way. And that’s what we get to do with, with Walker Independence. It starts with Abby. It starts with this woman who has to rebuild her life from the ashes of her expectations.
And then it brings in all of these other characters in this town that’s building itself up as well. And it allows for us to show what we hope is a more historically accurate version of the west than perhaps we’ve been able to see before on screen.
JENNIFER: That’s great. Thank you, and I have a follow-up question. I don’t know who wants to answer this question, but what are you guys most excited for fans to see this season?
KATHERINE: These people.
PHILEMON: This right here.
KATHERINE: All of this, all of these characters, all of the relationships, there’s so much, and so many layers that I think there’s, as Katie said, there’s so many head canons and things that we all want to explore even more, so hopefully we’ll be able to do so for the next several years.
MATT: I think, I think a lot of the, the magic in the show is the interactions between these characters and how, I mean, story in general is about change and how people, you know, how characters reinvent themselves. And so, it’s fun to see how we ping-pong off each other. And, and the, the chemistry is so different between each of our, you know, our, our cocktails, I guess if you will.
PHILEMON: Yeah. And finish each other sandwiches.
KATIE: I’m sorry. I’ll give you space.
KATHERINE: But sometimes we do finishes other’s (sandwiches) sandwiches.
MATT: So westerns are, are just badass. There’s horses, horse chases, bank robberies, gunfights, romance.
PHILEMON: Oh, why’d you say romance like that?
(Overlapping chatter)
MATT: I love romance.
KATIE: Let, it be known today, there is romance, that’s true.
MATT: I’m a lover, not a fighter. You know?
KATIE: That’s the first thing I tell people about you.
PHILEMON: That’s true.
KATIE: So tell people to stop asking me about you.
GREG: We’re all, we’re all learning it as we go along too. So…
EVERYONE PUTS THEIR MICS IN GREG’S FACE
GREG: But, but every, every time we get these scripts for each episode, it’s like, we’re so blown away about how all the plot points shift. And we, we, you know, we’ve discussed the, the direction of each… What are you guys doing? Get outta here. The direction of each character and, and we’ve, you know, want to get some insight on it, to try and hone it all out. And then there’s shifts in the way it’s presented by the writers. I think we need a shout-out to the writers and how incredible they present all of these plot twists and these, you know, evolution of each character.
GREG: So if I, I mean, if I’m blown away every time I read the script, I can’t imagine what viewers are gonna think. Cause it’s like Christmas morning every time you get a script, a new episode.
KATHERINE: And I think too, we’re also proud of this community that we’ve built, both on camera and behind the lens. Every single person on this set is so passionate about telling the story and about the detail and every element of bringing this show to life. And I’m looking at a photo of our town right now, and thinking about the costumes, to the sets, to the props, to every single element. It really brings it together and creates this sort of visceral magic for all of us.
JARED: Yeah. I think the interplay, what I’m excited about, the interplay between the cast, for sure. The storylines are incredible. And as a lot of the journalists and a lot of the cast and other producers that are here know already, TV is a giant machine. Making a TV episode is hundreds of people over weeks and/or months, long days and long nights to bring you 42 minutes every week, if we can. And so, sometimes you have to just have somebody there to get the job done. You know, somebody who might go, “they went that way.”
Here on this show, every single character could have their own show. No, one’s there just to progress the storyline. They’re all exciting and intriguing and kind of touch on what Matt touched on. Their interplay with each other is different. They’re not just this person every single time. If they’re talking to this character from the town, they have this relationship. And then it’s very obvious what the relationship is with that person, and so on and so forth. Um, and so I’ve, I’ve really enjoyed, you know, I see the scripts obviously before they get filmed, but getting to watch some dailies and, some of the earlier cuts of the episodes. I’ve been like, I didn’t even, I didn’t think of that. Like how did they figure that out? So I’m just, you know, bravo all around from top to bottom.
JENNIFER: That’s fantastic. Thanks so much, guys.
HOST: Thank you, Jennifer. We’ll get to Briar in just a second, but I also wanted to find out what Gabriela thinks about, you know, women in westerns. And I mean, she plays this really unique character also and would love to hear her, her thoughts on that.
GABRIELA: Yeah. I mean, as Kat said, I feel like you never get to see the perspective of women. And I think what’s interesting is that all three of our characters seem to be very modern-day women in, in a western. My character Lucia is, I think trying to find herself, and she comes from a very traditional Mexican family. And gender roles in Hispanic families, there’s the machismo and there’s the marianismo. And women are often taught to self-deny, and it’s family, it’s family first, which I love, I love family. But I think that there’s a cool journey of her trying to find herself and her independence and where she fits in this world. And that’s different than what you, I think would normally see in a Western. And it’s also very modern. It’s a cool, modern twist on, I guess what would be traditional.
(Overlapping chatter)
PHILEMON: Well said, I love Gabby too.
HOST: Next up is Briar. And then on deck is Margie Barron. Go ahead, Briar.
BRIAR: Hi. Um, my question is for everybody. I want to know, what is a historical event or moment, or even something that you’ve seen in westerns before that you loved, what you love to see explored in Independence?
PHILEMON: Heavy question.
(Overlapping chatter)
PHILEMON: Okay, put me on the spot. Um, you know, for me, I, I really loved The Harder They Fall, and I’m glad that Seamus brought that up. Like everybody can tell you, I watch it probably six times a day. But I just loved that. They brought characters to life that didn’t have light, that were played by different races, and now they’re being more authentic. So I, I love that, and I would love for that to continue. But I have to go, because I gotta go to set and I gotta film.
JARED: Love you, Philly!
(Overlapping chatter)
KATHERINE: Mine is a bit of a lighter version. I grew up in the Midwest. I’ve always loved, you know, I grew up playing the Oregon Trail computer game. I’ve always loved this idea of putting your entire life on a wagon and going out west. But there’s such a romanticized idea of it. In the pilot, we actually had a historically accurate-sized covered wagon for part of it, and put in, you know, a piano, and a bunch of stuff that would’ve been their life: a bed, a bunch of clothing, books. It was tiny.
You put myself and one other actor in there, you couldn’t even fit the camera inside. We had to find creative ways to go from the outside. And it really just puts perspective to what people went through in that time, just to even get around.
KATIE: I have one. I haven’t, I haven’t done a very good job. I’ve just been sitting here cracking wise. And I feel like everybody’s been waiting for me to do this. The west was queer. It was queer. It was all kinds of people, all kinds of gender presentation, all kinds of… And, and I think that’s something we see so rarely. Cowboys lived together in domestic marriages that were sometimes romantic and weren’t. People ran away to the frontiers so that queer women could marry their wives and masquerade as men, because women couldn’t own property. So they bound and bought a damn ranch.
And I, I am so looking forward to the opportunity to explore it, both through my own queerness and, and the queerness of others, which sounds like a hilarious thing to say. But, but I think that, yeah, it’s something that’s not often touched on, sort of the, the wildness of frontier self-discovery and the kind of refuge that was available for people. I mean, not only of different sexualities and genders, but of, of cultures. To find peace or adventure or acceptance or escape or respite from the societal norm of the time.
And obviously in westerns that are a bunch of old, straight, white guys, you’re, you’re not gonna see that. So, I’m really delighted to have been given the opportunity to, to get in there and wiggle around a little bit. I’m using weird verbs this morning, and I’m not sorry about it at all.
JUSTIN: Wiggle, wiggle.
KATIE: Everybody hates me.
KATHERINE: I can’t wiggle in the corset, I’m sorry.
KATIE: You can wiggle like a paper doll. Justin, go.
JUSTIN: Keep wiggling. I think for, for me, the historical part of it, that would be really interesting to see, is the reservation system at this time in history for native people, a lot of land is getting taken away and they were getting forced into, either smaller parts of their own land or getting moved to completely new places that they know nothing about. They know nothing about the, the land, what grows there, what food’s there, and they were expected to thrive. Um, so that could be a really interesting to get thing to get into Seamus.
SEAMUS: We will.
JUSTIN: And, you know, I, I think, I think Calian’s character and his relationship with the town right now is, is a really cool thing that we’re exploring, because the landscape was changing so much at this time. And, and native people did interact as people came west. So, it’s, it’s been really fun to find these relationships and find truth in them, and it’s stuff we haven’t really seen in the past. So, you know, a lot of times what we, what we write, we have really clear examples of. And so I, I almost feel like we’re on a new frontier right now with this show, and exploring these relationships that I’ve never seen shown in TV and film. And I’m sure they’re out there somewhere, but I never had the opportunity to see that. So that’s been a really interesting part of this journey for me.
MATT: Just real quick, like when, as the railroad moved west and these little towns sort of popped up, cause the railroad started to splinter, I always loved the idea of what they represented. Which was that American dream of like, you, you can make what you want in this world. You know, you can build your own life. And it is, it is what you make it. And people fought and died for it. And yet they still kept coming west, still came because of what that meant to people, to have the freedom, to define your own life. And so that sounds romantic and it’s… we, we’re still doing it today, I guess, you know?
KATHERINE: Well, that’s exactly it. To follow onto what you were saying, you know, this story is such a, a classic story of a western, of people who are building their own lives and choosing their own independence. But it’s such an allegory for today. We’re at this point in the world where we have a chance to, in some ways, start over and in some ways reset. And I think getting to see a town go through that on such a small scale, on a network like The CW can be an example and an interesting allegory for our world today.
KATIE: Well, because it also is the intersection of other people’s freedoms, right? Because you can hold a personal freedom, like sure, we’re going west. I want my own life. You get there, and suddenly your freedom is intersecting with the freedom of everybody who was already there. And there is, there is potential for, for damage and for harm, and watching how humans try, fail, try again to live peacefully with one another under various systems that sometimes, let’s be real, really don’t work, and sometimes do. Like there’s a lot of tension, and often tenderness involved in those interactions.
And I think that’s one of the, thematically, what a gigantic idea to then fold up in, you know, this little town full of people in the absolute middle of nowhere, who are all, like, many of them are experiencing each other, people like each other for, like literally the first time in their lives. There’s no YouTube, you know, you’re walking out in the middle of the desert all by yourself. So I think that, yeah, I, I agree with Kat that it is, it is sort of a, a microcosm of, of quite a, quite a, a contentious and broad thing about the world that we live in.
LAWRENCE: I think another fun thing to explore, history-wise would be the Chinese exclusion act. And you know, at that time, like they just stopped allowing Chinese people to come to America and, and, you know, not even own any businesses. So like to, to experience that, to actually explore that, if we get there would be pretty awesome.
SEAMUS: Yeah, just to piggyback off of everybody. I mean, we’re all saying the word change a lot, and we’re all saying the word identity. And, and, and I think, from day zero, day one onward, the idea of taking moments from history, you know, the railroad’s coming, we know, you know, Chinese Exclusion Act, different Native American tribes being forced into reservations. All these historical events are happening. And I always thought it was interesting to be like, what were the very small conversations in a town in the middle of nowhere that were happening before these huge events that we just read about in history books. And just kind of reducing it down to characters, and like focusing on like the emotional impact of that, and moments that we don’t necessarily think about when we’re in a history class.
Cause it’s called Independence for a reason, too. So it’s like, everyone’s trying to figure out like, who they are on their own while these massive events are happening and there’s this huge turning point of what the country was, what Texas was, what this town could be, and who these people are and how they’re gonna adapt. I think it’s just combining that, the historical backdrop of that, while being excited about building the characters in a way where they’re heading toward a certain direction, and then you, you flip it. You flip the script, you, you know, pull the rug out from under people and, and have some unexpected turn.
in the marriage of character and history, I always think that’s another thing, going back to what Jared was saying earlier. I think westerns can do that better than any other genre, you know, for all the obvious reasons. But I think the potential of that, we haven’t even tapped into yet.
HOST: Thank you, Briar. And I do wanna get to Margie, if you’re still there. Margie, you’ll have to be our last question for today. If you didn’t get to get to your question, please feel free to email me, and we will do our best to get you answers. But Margie, go ahead and we will wrap up for today.
JARED: And blame Katie.
MARGIE: Thank you. I’m really excited about this. I love westerns. Uh, grew up on the, you know, the great TV era of, of TV westerns, Maverick, you know, Rifleman, A Man From Black Hawk, a little treasure in there. Anyway, Seamus talk about watching classic westerns with his dad. I, I want to tap into a few other people, Justin and, and Matt and anyone else who wants to chime in. Can you relate Walker independence with any of the classic westerns, whether, and you can combine them like, Dodge City with a touch of Lone Ranger, or High Noon with a touch of Maverick. What, is there any classic old Western that just has a wink and a nod that you see there in Independence?
MATT: I see it more, I see it more with characters, you know? What was kind of cool about when Wyatt Earp and, and his brothers went to Tombstone, you know, what, what was cool was that these were like, they were kind of anti-law. If you remember, they were like gunslingers that became lawmen. And I think we have some of that DNA in our show. Um, I can’t talk too much about that maybe, but we will, we will see about how, you know, these, these towns were… What’s funny is that these sheriffs and these lawmen were actually, you know, outlaws at one point in time. Um, and we see that in a lot of those classical westerns, like, you know, Tombstone, to mention one.
JUSTIN: I just love Chavez from Young Guns. Like I, that’s the one Western I watch. I was like, yeah, him. The rest of ’em, you know, it’s like, you wanna be, you wanna be the guys from Tombstone, because they’re taking care of business. (Right). But for me, you know, I, I think we’re doing something different. Again, like I’ve said, if I, I don’t think I would relate to doing this character, or even agree to, if I thought there was something out there that I’d already seen before. Um, and I think that’s why we’re doing it.
MATT: I do see a, I see a lot of Matt Dillon in, in Augustus’ character that, that nobility, you know, his moral compass is right on target.
KATHERINE: I mean, I would hazard to say, no. I think that’s our whole goal here, is to make something new. And to take a genre that yes, there’s elements of it. There’s characters, there’s the warm nostalgia of seeing, you know, a horse walking down a western street and women in these grand dresses, and a cow in Congress in the middle of town for no reason. Spoiler alert. But, [OVERLAPPING] a cow. But that’s what our goal is here, is to create a new perspective on this genre, and to create something that you haven’t seen before, and to shed light on things that are very uncommon in this genre. And, and, you know, yes, we will have homages to things throughout, but hopefully we can accomplish that.
KATIE: I, I’m gonna say that Kate’s Blazing Saddles all by themselves. But other than that, yeah, that’s something I do find refreshing is that, you know, you can look back into a lot of classic westerns, but there are gonna be people who are misrepresented, insulted, left out completely. Um, so, you know, you can say that the, the spirit of High Noon walks around in everyone handling their problems without giving it away, holding the weight of the world on their shoulders, without, you know, joining in community, refusing to join in community until it’s a desperate situation.
But I, I see us as a Western about community, rather than separation or isolation or violence, per se. Even though, you know, lots of people ride horses through barns and do cool stuff, I’m not allowed to swear. Um, but, but yeah, I think, I think there is sort of a… a unique communal support and an emotional side to Walker Independence that that just sort of shifts it slightly away from most, most of the classic westerns that I’ve seen, which is a reasonable amount, I think. Don’t look at me like that.
JUSTIN: Love you so much.
HOST: Thank you, Margie. Thank you so much. And thank you to everyone. Thanks to all the press who joined us today. Thanks to everyone at The CW. Thank you for everyone behind the scenes who made this happen today. It was three different time zones and lots of people, we appreciate it. Also big thanks, not only to our cast and executive producers here, but also to Dan Linn, Lindsey Liberatore, Laura Terry, and Larry Teng. Also to Lawrence and Greg, and big shout-out to Philly who’s out there working already, to Gabriela and Katie and Katherine and Matt and Justin. Jared, thank you for being here. Anna, thank you for being here. Seamus, thank you so much. Once again, we will premiere on Thursday, October 6th on The CW at 9:00 PM. Hope everybody gets to finish watching all the episodes, if you didn’t get to. And wishing you a wonderful day. Thanks.
Walker: Independence is an upcoming American television series developed by Anna Fricke for The CW. It is a prequel to the television series Walker, which also airs on The CW. The series stars Katherine McNamara in the lead role, along with Matt Barr as Hoyt Rawlins, with Greg Hovanessian, Lawrence Kao, Justin Johnson Cortez, Philemon Chambers, Katie Findlay, and Gabriela Quezada also starring.[1]
The series was ordered in May 2022[2] for a fall premiere, paired with its parent series in a Thursday time slot on October 6, 2022.
Pilot
SeasonS.1 Episode 101
Airdate:
SERIES PREMIERE – In the late 1800s, Abby Walker (Katherine McNamara), an affluent and tough-minded Bostonian, embarks on a journey out west with her husband Liam (guest star Brandon Sklenar), when her husband is murdered before her eyes. After crossing paths with Calian (Justin Johnson Cortez), a curious Apache tracker, Abby arrives in the town of Independence, Texas, where she encounters diverse and eclectic residents running from their pasts, chasing their dreams, and keeping their own secrets, including Kate Carver (Katie
They played a great preview of the show for us. The hosts, Rebecca Romijn and Jerry O’Connell, performed the theme song. They are certainly multi-talented. They also reminded us that “The Real Love Boat” premieres Wednesday, October 5th, on CBS and streaming on Paramount+.
Executive Producer Jay Bienstock addressed us with these opening remarks:
So when you hear “The Love Boat” theme song like we just did, you cannot underestimate the power of nostalgia. You can hum that theme all day long, and it will make you smile. So our new series “The Real Love Boat” caps into that nostalgia. So when you hear the theme song and when you see Ted Lange show up dressed up in that famous red bartender’s outfit that he wore when he played Isaac, when we see Jill Whelan, who played Captain Stubing’s daughter, Vicki, arrive on the ship, I mean, you feel like you are in the middle of a mist of friends. It feels like you are coming home. “The Real Love Boat” has this great sense of adventure. Now, the ship, the Regal Princess — which, by the way had 3,200 paying customers on board when we were shooting, no less. The ship visits these beautiful ports around the Mediterranean Marseille and Santorini and Crete it’s really magical, and it’s the perfect environment to fall in love. It’s fun to imagine that, at any port, at any given time, our singles may find the love of their life. And our singles, these are regular people who have great stories, have been in love and fallen out of love. We have a firefighter and a nurse, a youth basketball coach, real people looking for real love. So not only do we have the real ship and real singles and we have a real married couple as our hosts, Rebecca and Jerry, all we needed was the secret sauce. So, like the original series, we needed real crewmembers to be our matchmakers. So we have our captain. We have our bartender. We have our cruise director. And they are the real deal. I mean, those roles are their day jobs. They are not TV people. They are ship people, and over the years, they have made matches for many people on their cruises, and they did so on ours. It was sort of this interesting combining of roles of television and real life. So you take these real singles, take the real Princess Cruise Line, take real crewmembers, and you add them all together, and you throw in one of the most iconic theme songs ever, and — you heard Rebecca and Jerry — it’s amazing. I can listen to that all day long. It’s so fun the way they sing it together. You put that all together, and we have a really, really fun show, and that is “The Real Love Boat.”
I don’t normally watch any kind of unscripted or non-fiction TV shows. I would rather watch great acting and writing. However, I was very happy to speak with Jerry O’Connell and Rebecca Romijn, my favorite celebrity husband-and-wife team. At first it was just these two, and they brought out the crew later.
I’m not embarrassed to say I had a huge crush on Jerry from when he starred in “Sliders” on FOX back in 1995-2000. He was a child actor who got his start in the movie “Stand by Me” when he was only 12. Both he and Rebecca are now in different “Star Trek” series, which I love because I’m a long-time Trekkie. She stars as Number One in “Star Trek: Strange New Worlds” and he does the voice of Commander Ransom in “Star Trek: Lower Decks.” I told them that I think they’re “amazing actors” and asked them what made them want to do this project. Rebecca answers that they “love watching reality television” and “watching love stories,” so they’re very excited to do it in person rather than from their sofa. They also enjoyed the “beautiful locations.” Jerry agreed, saying, “We as a couple consume an unhealthy amount of unscripted television.” They joked for a few minutes about how they shouldn’t be admitting that. They should, instead, say that they only watch “premium streaming shows” with “people with accents who live in manors.” They love the CBS competition shows and jumped at the opportunity to host this show. Rebecca had previously hosted “Skin Wars,” but he hadn’t hostead before. Since they’re actors, “This is a muscle we had not flexed before,” Rebecca said.
Jerry talked about how the show drew him in emotionally. Someone got eliminated in their first episode. He started to say something, but Rebecca interjected that he “cried.” He denied that, saying he was just “emotional,” but she repeated that he “cried.” It was a very funny moment. They have a great rapport that’s fun to watch. Jerry said that his “superiors” let him know that he can’t be so invested in what’s going on with the “singles” on the show. Rebecca agreed that being neutral is hard for Jerry. He gets “very caught up in the emotion” because he’s an actor. He added that when he watches at home, he definitely takes sides and shares his strong opinions on social media. Jay jumped in to say that this all proves how real the show is, that the singles wnat to find love and how real it is for them. He thinks that watching them do this is great TV. Jerry shared that he was shocked at how “emotionally attached I became to our couples and how much I was rooting for them.” When they’re acting, they know it’s pretend, but with this, it’s real.
Other members of the press asked their questions as well. They asked if the singles on the show remember the original “Love Boat,” since they’re so young? Rebecca assumed that they probably didn’t know about it. She thinks that the one of the show’s strengths is the nostalgia for people who grew up in the 80’s. Jerry wonders if some do have awareness of the show because of the Princess cruises, where there is a “Love Boat channel” and you can watch all of the episodes there.
This reminded him that he had asked Jay and their other boss, Eden, what he should do to prepare for the show. They just told him to watch the original “Love Boat” because it was all about people trying to find love. Rebecca agreed that both the old and new shows are about “people whose hearts have been broken, who are looking for a second chance at love.” Jerry hopes that people will watch the new show and get that same “warm, fuzzy feeling.”
Jay reminded Jerry that he’s not his boss. He talked about scouting to find the people for the show, and he met the ship’s captain, Captain Paolo. He explained how it worked to film on the ship. He impressed them all with how charming, good-looking, and well-mannered he was, so they decided they wanted him to be their captain on the show. They had to find someone else to actually drive the ship instead of him. He related that the Captain and others are the “matchmakers” on the ship. They “bring people together,” along with Jerry and Rebecca. At that point, they brought out their crewmembers and introduced them.
Captain Paolo was asked if he’d had any acting experience, but he hadn’t. He said he was just playing himself in the show, so he doesn’t consider this acting experience, but he said it was “incredible.” He was asked whether the singls on the show really talk to the captain about how much they want love and whether he believes their stories, and how did he help them. He confirmed that the cruise director, Matt, and the bartender, Ezra, gathered info about the singles and what happened with them, and they all worked to help them out, “to either fortify or strengthen their bond or maybe try to open themselves up to other opportunities out there with other singles until they find the real love.”
Jerry and Rebecca were asked if they’re good matchmakers in real life. Jerry claimed that he was responsible for two couples getting married. Jerry went on to talk about how the setting for “The Real Love Boat” is made for couples to get together and find romance because it’s in the Mediterranean and other beautiful locations. Jerry mentioned that he and Rebecca have been together 15 years. He also admitted that he’d never been on a cruise before. He thinks it’s a very romantic place. Rebecca added that “Water is sexy” while Jerry went on to say that “time stands still.” He understands it now. He compared it to other traveling, like by airplane, which is stressful and not romantic. Rebecca also admitted that she’d never been on a cruise before, either. She said she loved sleeping on the boat, “I have never slept better in my life, like, rocked like a little, gentle baby, oh, so beautiful.”
Bartender Ezra was asked how long it took her “perfect the iconic Isaac finger point to your liking” and what it was like to meet Ted Lange (who played Isaac, the bartender, on the original “Love Boat’). Ezra replied that the finger point is a lot harder than it looks and Ted helped her with it. You have to tuck the thumbs in but point the fingers out. She said that it was “amazing” working with Ted. She was already a huge fan of the original show because of working on the Princess cruise line. She had always joked “that it should be required viewing for crewmembers to watch Season 1.” So she was very excited about the show and to meet Ted. In fact, she said, “Jay told me to stay away from him until we got the cameras rolling because I was so excited to see him and work with him.” She gushed about great he’s been to her. Jay also shared with us that Ted is working behind the bar in some scenes.
Jay was asked whether their partnership with the Princess line was to help promote it and get the cruise industry to be popular again, since it took quite a hit during COVID and via several revealing documentaries. Jay denied that and said that it was just about being “The Love Boat” and nothing else. Jay was also asked whether anyone else besides Ted and Jill (Whelen, who played Vicki on the original series) were going to be on the show. He let Captain Paolo talk about Jill. He had meet Jill on a previous cruise. He used to watch the show with his grandfather who was on the original as an executive chef. They were discussing this before they show the new show, and “all of these nostalgic things.” It was a great conversation for both of them.
Rebecca said a few closing words about how much they love the show and enjoyed traveling to the various beautiful locations. “We are very proud to be a part of it, and we hope everybody enjoys it as well.”
MORE INFO:
REBECCA ROMIJN AND JERRY O’CONNELL COME ABOARD AS CO-HOSTS OF “THE REAL LOVE BOAT”
The Dating Adventure Series Premieres Wednesday, Oct. 5, as Part of
CBS’ All-Reality Wednesday
CBS announced today Rebecca Romijn (Paramount+’ STAR TREK: STRANGE NEW WORLDS) and Jerry O’Connell (CBS’ THE TALK) as co-hosts of THE REAL LOVE BOAT. The husband-and-wife team will take the helm guiding viewers through the dating adventure series inspired by “The Love Boat,” the hit scripted series in the ‘70s that used Princess Cruises ships as its setting. The series sets sail Wednesday, Oct. 5 (9:00-10:00 PM, PT/ET), following SURVIVOR (8:00 PM PT/ET) and leading into THE AMAZING RACE (10:00 PM, PT), to create the Network’s all-reality night.
“After years of consuming, arguing about and dissecting unscripted television, hosting a reality series where a group of singles look for love while aboard a Princess Cruise ship, seemed like a dream come true,” said Romijn and O’Connell. “When we heard it was aboard THE REAL LOVE BOAT, that dream got an iconic theme song – ‘we promise something for everyone.’”
Rebecca Romijn continues to maintain her leading lady status in Hollywood since famously starring as Mystique in the FOX X-Men franchise. Currently, Romijn stars in the Paramount+ series STAR TREK: STRANGE NEW WORLDS, reprising her role as the iconic character Number One, whom she also portrayed in STAR TREK: DISCOVERY. As co-host of THE REAL LOVE BOAT, the former Sports Illustrated swimsuit issue cover model returns to familiar territory – she served as the host of MTV’s iconic “House of Style” and as host and executive producer of the GSN bodypainting competition series “Skin Wars.”
Actor, director and television personality Jerry O’Connell serves as host of THE TALK, CBS’ Daytime Emmy Award-winning talk show that examines topical events and contemporary issues. O’Connell began his acting career at age 11 when he co-starred as Vern Tessio in “Stand by Me,” spawning a career of roles in critically acclaimed films and televisions series. O’Connell currently voices Commander Jack Ransom in STAR TREK: LOWER DECKS for Paramount+ and he can now be seen in the thriller “Endangered Species” opposite his wife, Romijn, and Philip Winchester.
THE REAL LOVE BOAT brings singles together to sail the Mediterranean on a luxury cruise ship while looking for love. Destination dates, challenges and surprise singles will test the couples’ compatibility and chemistry. Like the beloved original scripted series, the indispensable crew members, including captain and cruise director, will play pivotal roles in the matchmaking and navigation of the romantic (and sometimes turbulent) waters ahead.
After nearly one month at sea, one winning couple will dock in the final port and take home a cash prize plus a once-in-a-lifetime trip courtesy of Princess Cruises, the series’ exclusive cruise line partner.
THE REAL LOVE BOAT is produced by Eureka Productions in association with Buster Productions. Chris Culvenor, Paul Franklin, Wes Dening and Jay Bienstock serve as executive producers for Eureka.
Biography
Jerry O’Connell is an actor, director and television personality. He serves as host of The Talk, CBS’ Daytime Emmy Award-winning talk show.
O’Connell began his acting career at age 11 when he co-starred as Vern Tessio in Stand By Me. Born and raised in New York City, O’Connell graduated from New York University with a BFA before returning to feature films. He received critical acclaim for his role as quarterback Frank Cushman in Jerry Maguire.
Most recently he appeared in the film Endangered Species, with additional credits including Scream 2, Can’t Hardly Wait, Mission to Mars, Tomcats, the Jerry Bruckheimer-produced comedy Kangaroo Jack, Yours, Mine and Ours, Man About Town, Obsessed, Piranha 3-D, The Lookalike, Deep Murder, and The Secret: Dare to Dream. O’Connell was also seen in the big screen follow-up to the cult hit television series Veronica Mars. In addition to his film work, he has been seen in multiple hit television series, including Scream Queens (FOX), Mistresses (ABC), The Big Bang Theory (CBS), Billions (SHOWTIME), The Mysteries of Laura (NBC), Carter (OWN) and currently voices Commander Jack Ransom in Star Trek: LowerDecks (PARAMOUNT+.)
Additionally, O’Connell hosted his own daytime talk show Jerry O in 2019 and starred in the Broadway play A Soldier’s Play in early 2020.
O’Connell resides in Los Angeles with his wife, Rebecca Romijn, and twin daughters. His birthday is Feb. 17. Follow him on Twitter and Instagram @mrjerryoc.
Rebecca Alie Romijn was born on November 6, 1972 in Berkeley, California. Her father was Dutch-born and worked as a custom-furniture maker. Her mother was American-born, with Dutch and English ancestry, and was a teacher of English. Rebecca attended Berkeley High School where her nickname was the “Jolly Blond Giant”, then she attended the University of California at Santa Cruz where she majored in Music, but left in 1995.
She was a natural for modeling, and has posed for Sports Illustrated, Christian Dior and Victoria’s Secret, to name but a few. Rebecca first met John Stamos in 1994, at a Victoria’s Secret Fashion Show and had her first date with him at Disneyland. They married in September 1998, but have since gotten divorced.
Rebecca’s favorite foods are fillet mignon, tuna sashimi and Häagen-Dazs Cappuccino Commotion ice cream. But to keep her weight at a svelte 130 pounds, she stays fit with a rigorous stretching and strengthening routine (her firm body tone is evident when compared to photos of her earlier modeling, where she was very slim but not toned). Rebecca’s most famous movie role, so far, was as the shapeshifting Mystique in X-Men (2000), based on the long-running comic book series about teenage mutant superheroes (that Jack Kirby and Stan Lee created in 1962). To play Mystique every day, Rebecca had to start out nude, and then two female makeup artists would apply blue body paint and other stick-on parts for 8 hours a day. Rebecca told Jay Leno on The Tonight Show with Jay Leno (1992) that things like tissue paper would stick to her hips; and, one day, the long hours of wearing sticky paint makeup made her so upset that director Bryan Singer told her to have a glass of white wine and relax. Notwithstanding those technical difficulties, X-Men (2000) was a box-office bonanza, and Rebecca’s future in films was assured.
SHOW INTRODUCTION: Hello, and welcome to our panel for the new SYFY series “Reginald the Vampire.” The hour long series, which stars Jacob Batalon as the title character, will premiere on SYFY on Wednesday, October 5th at 10:00 p.m., following the Season 2 premiere of “Chucky.” Imagine a world populated by beautiful, fit, and vain vampires. Reginald Andres tumbles headlong into it as an unlikely hero who will have to navigate every kind of obstacle: the girl he loves, but can’t be with, a bully manager at work, and the vampire chieftain who wants him dead. Fortunately, Reginald discovers just a few unrecognized powers of his own. A new show with a lot of heart and just enough blood, “Reginald the Vampire” prove the end of life is just as complicated as life itself.
This was a great TCA panel about the show. I really enjoyed the episodes I watched, and you will, too. I told them this and jokingly thanked them for getting a certain earworm song they used in the show stuck in my head. Peyton replied that it’s stuck in all of their heads, too.
Savannah Basley plays the “evil” ancient vampire, Angela. Mandela Van Peebles (son of Mario Van Peebles!) plays Maurice, the vampire who turns Reginald. There is a very sexy scene in the show between them, so I asked them about what they had to go through as actors to do that scene, which was sexy but involved lots of blood. Savannah had already mentioned that there was lots of “stickiness.”
Savannah explained that it was fun and that she loves the horror genre. She loves being hands-on and said that being covered in blood and having it “squirting” was fun. She admitted that while there is a vain part of you that worries about how your hair and makeup look, you can let go of all that and have the freedom to wallow in the fake blood and just concentrate on acting in the scene. She did add that the stickiness was kind of annoying, but the rest was “a lot of fun.”
Mandela also answered that having EP Jeremiah Chechik and the other “great people behind the camera and being able to trust their vision” was the best part for him. He wants to look good in a sex scene and can be critical of himself. He also spoke at length about how the romance between Maurice and Angela spans many years, so the earlier sex scenes have more innocence, whereas the later ones have more confidence and “the strength of someone who has grown up a bit since the first time.” He agrees with Savannah that it’s fun and figures that when you’re immortal (like the vampires are), it would be difficult to keep holding a grudge (as Angela and Maurice do against each other). He enjoyed playing their relationship and is looking forward to seeing it on screen. Jeremiah also chimed in to compare these type of scenes with others he’s done in the past. He admits that “they can be very disquieting, can be very tense, and can be very uncomfortable.” However, they weren’t for these actors. He works hard to make sure that all of the actors “feel very comfortable and relaxed” and not “self conscious.”
He praised the actors for how they made the scenes fun. Savannah also replied that there was “safety on set.” They made sure that she and Mandela were comfortable, ready and feeling okay. They worked with an “intimacy coordinators,” which made them feel less vulnerable. She felt it was important to show Angela’s softer side, since she’s seen as angry or evil, so that we can see why Maurice fell in love with her. She might have put a wall up due to things that have happened in her 400-year lifetime.
Showrunner Harley joked, “She might pull your heart out of your chest, but other than that, she’s very, very soft inside.” Everyone laughed at that. There was quite a lot of laughing and joking around during the whole panel, which was very fun.
Most of the press questions were for Jacob, who’s not only the star of the show but famous for his role as Ned in the Spider-Man movies. He was asked about having to play a vampire. He praised Harley and the others for making the show as realistic as possible and turning the usual vampire “tropes” on their heads – especially the ones about vampires only being thin and beautiful. He jokingly added that the vampire blood gets everywhere, including in some “bad crevices.” He enjoys being the hero of the story, even though he’s not tall, thin or has “long, flowing hair.” He did have a hard time speaking, at first, because of the fangs, and tried to speak without a lisp on the first day of shooting.
He was also asked about how different it is being the lead in a TV show (after playing Spider-Man’s best friend). He answered that he just tries to make sure that everyone gets along well and enjoys their time on the set. He feels very fortunate that everyone he works with is “so great and so amazing and talented and sweet and willing to work.” He added that it shocked him how much you have to come to work prepared (he may have been joking here, but I’m not sure). He feels that working on the movies led to this way of thinking.
Harley praised Jacob because he wasn’t used to shooting 8 or 9 pages per day, and he was worried that he might burn out, but he is a “superstar.” He said that everyone in the cast is like that. He thinks they’re very lucky to have such a great cast and that is “such a key thing to a successful show.” He mentioned that Jacob is a real leader in the cast and that he never remembers him even having a bad day. Jeremiah added that Jacob was always completely prepared and ready; he set the tone for everyone else. Jacob modestly thanked them for being there for him. Then he joked, “but I am, like, on the title of the show, but whatever. It’s fine” which provoked more laughter.
Jacob was also asked about the trials his character is forced to go through, but he wasn’t sure what he could say without giving away any spoilers. Harley mentioned some difficult arcade games. Jacob said that the “vampire karaoke” was difficult for him (there is a great karaoke scene in the show, although it’s not part of his trials). This is where Savannah said that working with the sticky blood was difficult and got everywhere, which Jacob agreed with. Jeremiah concurred that they did use an awful lot of red liquid, but the cast “all kind of sublimated to that and drank deeply.”
Harley and the other producers were asked whether any particular vampire show or movie from the past inspired them. He acknowledged that it’s hard to forget about “Buffy the Vampire Slayer” and “Angel,” but they mostly used the “Fat Vampire” books in which the series is based. They made many changes to that and “ended up with a kind of rom com workplace comedy drama.” Jeremiah also weighed in on how past vampire shows and movies inspired them, along with the book, to overturn all of the normal vampire clichés.
The cast were all asked about their favorite things about their characters. Savannah loves how Angela is strong, powerful smart and “claims this full autonomy over herself.” Em pointed out that Sarah is very real, since she isn’t playing a vampire. Sarah is “the grounded center” and she feels that she was able to grow along with the character as she tried to “find her place in the world.” Mandela enjoyed getting to do new things, such as playing a vampire. He tried to channel his granddad and great-grandad, since he was playing someone that’s lived a long time. He tried to bring “different generational traits to a modern character.” It was fun for him to do that as well as playing in a more diverse vampire universe. Jacob described how Reginald is very “thoughtful” and “enigmatic,” and he’s “uncertain about life” and yet aware of how people see him now in this situation (as a “fat vampire”). He used this big change in his life to become a better person. He also thinks that the other characters really affect Reginald’s life deeply. He really loves playing with all of that.
Everyone was asked what other creatures they would like to see on the show. Harley said in a mysterious way that they all would love to see “an angel with a flaming sword.” Jacob likes dragons, and Em agreed, but Harley said that he doesn’t think they could afford dragons. Jacob would also love to see a “vampire battle.” Jeremiah said that they could have just about any type of fantastical creature, since they have vampires. Savannah loves mythology and would love to see a wendigo. Someone else mentioned a Chupacabra. Em joked that she’d like to see a jackalope. Harley agreed that it would be “more appropriate” for their show and “that’s definitely affordable for our special effects.” Savannah asked if Angela could have a pet jackalope. Harley said that he had really wanted to have Mandela and Nikki holding puppies, but they weren’t able to make it happen (that may have been a joke). Em talked about how much fun their show is, that they can be absurd. She commented, “I love that. I love that shit.”
They were asked how their show will stand out from all of the other vampire series currently on the air or coming up. Harley pointed out that most of the shows are not humorous (aside from “What We Do in the Shadows”). He thinks that their source material created a certain type of tone where they have an “interesting dichotomy between the vampire world, where vampires are really vapid, vain, runway models” and they use that to address the issues of “body shaming and body positivity” where Reginald doesn’t fit into that same type, which is different from other shows. They get into how the vampires “love bureaucracy” and are very vain. He discussed the conflict in the vampires between what they see when they look in the mirror (which they do a lot) and whether their inner beauty matches up.
Jeremiah said eloquently that their show is “very rooted in real emotional dynamics. That is the rock solid foundation, and it’s based on how we fit in, how we present ourselves, what we think of ourselves, how we relate to others, what is expected of us, our sexual orientation…the color of our skin. All of these things are really social dynamics which we explore within the wrapping of a vampire show.” Their show is more about those aspects rather than sucking people’s blood. It’s about how you can improve your life after you die. He also mentioned that their show stands out both “tonally and visually” from other vampire shows. It’s not as dark. Lindsay put in her two cents that their show has a different heart than the other shows. It’s really more of “an underdog story” with a “positive message that’s baked into all the entertainment and comedy. So it’s very aspirational, and it’s just so much fun.” She also said that the other shows don’t have their talented cast. Jacob agreed that their show is more about “the human condition” and the journey of self that Reginald goes through, and “the connections he has through death.” He concluded that Reginald “learns life through death, and that’s a very poignant and deeper sort of meaning than just, like, wanting to kill people and look super hot.” Jeremiah informed us that Syfy ordered the show because it’s original; there is nothing else like it on TV.
Mandela was asked to comment on a story his father (Mario Van Peebles) told about how his grandfather (Melvin Van Peebles) wouldn’t help him when he wanted to become an actor because he wanted him to do it on his own. He asked if that’s the way it was with him as well. Mandela answered that he went to college, and then when he tried to get a “real job,” it didn’t work out. He found it very hard. He remembered how much fun it was when he was a kid, traveling all over the world with his dad to different places (for filming). He figured that working on a set was a lot more comfortable for him than working in an office. Once he decided to go for that, it worked out. He’s very excited to be doing the show. He didn’t really answer the question, but that’s fine.
Jeremiah joked, “I’d stick with this for a while.” The reporter asked Mandela what type of regular job he had been looking for, so Mandela answered that he made smoothies at a health food store, “Simply Wholesome.” I thought he was joking at the time (since Reginald and his friends make smoothies), but maybe he wasn’t. It was hard to tell in this panel because there was a lot of deadpan joking.
MORE INFO:
Reginald the Vampire
Premieres Wednesday, October 5, at 10 PM ET/PT on SYFY
Imagine a world populated by beautiful, fit and vain vampires. Reginald Andres tumbles headlong into it as an unlikely hero who will have to navigate every kind of obstacle – the girl he loves but can’t be with, a bully manager at work and the vampire chieftain who wants him dead. Fortunately, Reginald discovers he has a few unrecognized powers of his own. A new show with a lot of heart and just enough blood, “Reginald the Vampire” proves the undead life is just as complicated as life itself.
“Reginald the Vampire” is produced by Great Pacific Media Inc., Modern Story Company, December Films and Cineflix Studios and executive produced by Harley Peyton, Jeremiah Chechik, Todd Berger, Lindsay Macadam, Brett Burlock and Peter Emerson. The series is based on the book series by Johnny B. Truant.
Jacob Batalon
Reginald Andres, “Reginald the Vampire”
Jacob Batalon plays Reginald Andres in the new SYFY series “Reginald the Vampire,” which premieres Oct. 5 at 10 p.m. ET/PT.
Batalon is best known for his role as Peter Parker’s charming best friend Ned Leeds in the “Spider-Man” films starring Tom Holland, including the most recent box office smash “Spider-Man: No Way Home.” He’s also appeared in “Avengers: Infinity War” and “Avengers: Endgame” as well as several indie films.
Upcoming projects include the films “Horrorscope” as well as Netflix’s “Lift,” alongside Kevin Hart.
Born and raised in Honolulu to Filipino parents, Batalon attended a two-year acting program at the New York Conservatory for Dramatic Arts. While working through his last year in the program, he sent in a self-tape submission for a vague supporting role in a Marvel movie, his first audition ever, which led to being cast in the “Spider-Man” films.
Savannah Basley
Angela Hibbert, “Reginald the Vampire”
Savannah Basley plays Angela Hibbert in the new SYFY series “Reginald the Vampire,” which premieres Oct. 5 at 10 p.m. ET/PT.
Basley’s first TV role was in “The Art of More and she has subsequently appeared in multiple series, including “Tales from the Hood,” “Coroner,” “Utopia Falls” and “Wynonna Earp.” She’ll soon return for the second season of “SurrealEstate.”
Her first film role was in the 2015 short “White Lock,” which won the Special Jury Prize at the Amsterdam Film Festival.
Basley is a dual Canadian-US citizen, the daughter of a Canadian mom and an American military veteran.
Em Haine
Sarah Kinney, “Reginald the Vampire”
Em Haine plays Sarah Kinney in the new SYFY series “Reginald the Vampire,” which premieres Oct. 5 at 10 p.m. ET/PT.
Born in Vancouver, B.C., Haine is the only child of an Austrian father and French-Canadian mother. They eventually moved to London to study the Meisner technique at the Actors Temple. While in both New York and Los Angeles, Haine took up Improv at the Upright Citizens Brigade.
Haine’s first break came with the role of oddball Noreen Vanderslice in the critically acclaimed miniseries “Fargo.” Other TV credits include “Chilling Adventures of Sabrina” and “The Mighty Ducks: Game Changers.”
On the film side, Haine has appeared in “Deadpool,” “Tully” and the indie “Gregoire.”
Mandela Van Peebles
Maurice Miller, “Reginald the Vampire”
Mandela Van Peebles will play Maurice Miller on the new SYFY series “Reginald the Vampire,” which premieres Oct. 5 at 10 p.m. ET/PT.
Van Peebles most recently recurred on Taylor Sheridan’s drama series “The Mayor of Kingstown.” He recently guest starred on season 2 of “Wu-Tang: An American Saga” and appeared in the biopic “Salt N Pepa.”
Past film work includes a starring role in “Jigsaw,” the latest installment of the “Saw” franchise, and USS Indianapolis: Men of Courage.”
Other television work includes the 2016 Emmy Award-nominated miniseries “Roots.”
Harley Peyton
Executive Producer, “Reginald the Vampire”
Harley Peyton is an executive producer and showrunner on the new SYFY series “Reginald the Vampire,” which premieres Oct. 5 at 10 p.m. ET/PT.
Peyton was born and raised in Spokane, Wash., and attended Harvard and Stanford universities as well as the California Institute of the Arts.
On the TV front, Peyton has served as a writer and/or producer on “Twin Peaks,” “Moon Over Miami,” “Route 66,” “Dracula,” “Wedding Band,” “Reign,” “Dominion,” “Channel Zero” “Project Blue Book” and, most recently, “Chucky.”
On the film side, his credits include “Less Than Zero,” “Gold Coast,” “Heaven’s Prisoners,” “Bandits” and “Friends With Benefits.”
Jeremiah Chechik
Executive Producer/Director, “Reginald the Vampire”
Jeremiah Chechik is an executive producer and director for the new SYFY series “Reginald the Vampire,” which premieres Oct. 5 at 10 p.m. ET/PT.
Chechik is an award-winning director who has worked in commercials, studio and independent film and domestic and international television for three decades. Among his several feature credits are “Christmas Vacation” and “Benny and Joon.”
In television, he has worked for all the major studios and/or networks and has directed pilots, produced miniseries and worked in every possible genre. Among his credits are “The Bronx Is Burning,” “Gossip Girl,” “Burn Notice,” “Helix,” “Criminal Minds,” “Chuck,” “Shadowhunters,” “Rogue,” “The Gifted” and many others.
Interview with Jacob Anderson, Sam Reid and Bailey Bass of “Interview with The Vampire” on AMC and AMC+ by Suzanne 9/29/22
This was a fun roundtable with the three stars of this great new vampire show. If you love vampire shows, or the Anne Rice novels, you should love this show. It’s very well done, and these actors are great in it. Jacob plays Louie, and we see the story through his eyes as told to ailing reporter Daniel Molloy (Eric Bogosian, who’s outstanding as always). Sam Reid plays LeStat, the seductive vamp that turns Louie and becomes his friend, lover, mentor, etc. Bailey plays Claudia, the young woman that joins them. They were very kind and fun to interview.
Suzanne: Hi, I’m Suzanne Lanoue from TVMEG.com, and I’ve watched the first episode. I didn’t get screeners till this morning, so I only got to watch the first one so far, but I’m really enjoying it. It just grabs you and drags you in. So, congratulations on being renewed for season two already, which is great. Do you know when you’ll be starting to film season two, or have you already started filming it?
JACOB ANDERSON: We haven’t started. We haven’t started shooting, no.
SAM REID: Probably, I don’t know if we can say anything. [Laughs]
Suzanne: Have they told you yet?
JACOB ANDERSON: They haven’t not told us anything.
Suzanne: [Chuckles} OK, well, thank you!
Jamie from SCIFI VISION: Hi, I’m Jamie Ruby from SciFi Vision. Thanks for talking to us today, I really enjoyed the first five episodes that we’ve seen. So, for the three of you, can you kind of talk about how you balanced what you pulled from the book versus what you added with your own spin on it?
SAM REID: Hello, Jamie, I’ll answer that. No. But I would say that anything for myself and my character, my own spin probably came from my own interpretation of the books and Rolins’ work. So, I wasn’t really trying to put any of my own spin on it. It’s just how I imagined it to be, really.
JACOB ANDERSON: Yeah. I second that. It’s like, you will always view a character through your own lens to an extent and then it’s just kind of, I mean, I guess with anything, it’s like, do other do the other creative people like that, and do they want to discuss it? But you don’t want to mess with this. Like the combination of Anne Rice’s writing and Rolins’ writing, you don’t really want to touch it, you don’t want to just sort of throw your own stuff in just for the sake of it.
SAM REID: They’re so dense already the characters that it sort of would be a shame to try and deviate too much of thing.
JACOB ANDERSON: What could you possibly add?
SAM REID: Yeah.
BAILEY BASS: I feel the exact same way. It’s really, yes, we were cast because there’s something special in us that Rolin and the entire team really enjoyed when we were doing our auditions. But other than that, it’s really just doing the research and the book, reading the scripts, doing our own technique, and then just coming and creating in this world.
Jamie: Okay, great. Thank you so much.
Jamie from STARRY MAG: This is Jamie Steinberg, with Starry Constellation Magazine. Jacob, this is another deeply tortured soul for you to portray. Is there something about these kinds of characters that really draw you to them? Or is this them finding their way to you? Or is it something you see in them that really resonates with you and makes you want to portray them?
JACOB ANDERSON: I think it’s a combination of both. We find each other. I think I’m slightly less like Grey Worm than I am like Louis. But yeah, I mean, I think you normally want to be like very boundaried when you talk about things and be like, “Oh, well, I’m so removed from the character, and I’m brilliant at acting and blah blah blah blah blah”. But to be honest, yeah, I feel very, very connected to Louis. It’s the thing that bothered me about how Anne Rice wrote him, and also how Rolin wrote him as well. Yeah, I’m drawn to characters who are searching. And I’d ask him questions, not just about the world, but about their place in it and what they contribute or don’t contribute to it. But yeah, I also I felt like it would be like, narcissistic of me to be like, “I am the only person who can play Louis.” But namely, because there is somebody else that’s done it, as well. Many people.
Jamie: Well, I think you brings such a unique take on it, though, because of the artistry you have. Both of these characters that you mentioned, have just been wonderfully nuanced, I think through your portrayal. So it might be just a little bit time for you to pat yourself on the back for what you’ve brought to the role on your own.
JACOB ANDERSON: This one’s for you, Bailey.
QUESTION: Question for Jacob and Sam, one of the really interesting things about this particular adaptation is the romance that we kind of finally get to see between Louis and Lestat. Can you speak to that a little bit? What does it mean to you to be able to portray that relationship in that way?
SAM REID: Well, I think AMC has the rights to the entire Vampire Chronicles, and so it’s very important to make sure that relationship is established early on. Particularly as the books progress, it becomes much more clear that they are in a very intense romantic relationship. So, I think it’s it’s great to make sure that we’re serving the story correctly. And it wouldn’t be Anne Rice’s Interview With The Vampire if it wasn’t there. So, yeah.
QUESTION: I was wondering, and this is kind of specifically for Bailey and Sam, the show doesn’t shy away from race or that being a factor at all for their very long life experience. Was that important to you? And were you afraid of any ignorant backlash, because previously, the characters were paid by white actors?
BAILEY BASS: I was really excited to play Claudia. It’s really a dream to play such a complex character that’s very loud and unapologetic. I honestly didn’t think twice about anything else. I just knew that Rolin was very intentional about the actors that he wanted to cast in the show, and I’m very fortunate that I was one of them. I just dove into all the research. I read the book. I would cross reference the book and the script and see the quotes that Rolin took from the book and was very intentional about adding them into the script. After doing all the research, I mean, I became Claudia and it was fun to play her.
JACOB ANDERSON: Yeah, I think something that Rolin’s done, which is – I’m almost loath to call it important, but like it creates a richness is that this isn’t a colorblind casting situation. Louis’ central question is about his humanity and his place in humanity. I think that if you were to cast a black actor or black actors for Louis and Claudia, and to not address that, you’d take a lot away from that question of their humanity. I’m glad that we don’t shy away from it. And in terms of backlash, I just don’t want to give it energy anymore. Like I just – people are going to – I think people need to be seen. Sometimes they’ll say anything to be seen or recognized, and it’s sad, but it’s the internet.
QUESTION: I would love for you to talk a little bit about what it’s like just being vampires, being able to play vampires when biting people and having these kinds of scenes. What goes into that and how much fun is that to play? How difficult is that to play?
SAM REID:
It’s very fun. It’s very fun. Yeah, you know, because we’ve got a lot of elements that come into every scene. So, they’re very beautiful, sort of rich dialogue-heavy scenes, but we also have this whole element of the vampire, you know, he kills, so we’ll be pausing for the blood to be put in. We had all these different types of blood that we’d been drinking and tasting, and they made us hibicus flavored blood when we had to drink large amounts of it.
JACOB ANDERSON:
It did not taste like hibiscus. It tasted like it was like a Sour Patch Kid.
SAM REID: Yeah.
JACOB ANDERSON: But in liquid form.
SAM REID: But there’s a lot of thought and consideration [that had] gone into this. But yeah, it’s so much fun, really. Vampires are, I think, the best type of monster, because they have so much humanity. They’re so articulate. They experience a huge amount. Anne Rice is responsible for our shift in vampires, because she puts the perspective into the eyes of the monster, and you have empathy for them. So, it’s very fun to do these really extreme, horrific things, but also with a level of understanding and empathy and bringing that into the character. So, it’s a fun thing to do.
JACOB ANDERSON: It’s the best! It’s the best. The best monsters.
Jamie from SCIFI VISION: So, obviously, you guys do go to some really dark places, though, with your characters. Can you sort of talk about getting into that headspace, and how you sort of, I guess, get back out of it? Is it hard to sort of go there? For all three of you.
BAILEY BASS: Yeah, it’s hard. We had such long days that it kind of, for me personally, it was hard for me to differ[entiate], like, who’s Claudia and who’s Bailey. So, I kind of had to, like really sit with myself and reflect, but it’s hard. But then also, this is what I love to do, and playing such an extreme character, that’s what makes it fun is that I get to relive and be in these spaces that I would never normally be in if I didn’t get to play Claudia. But the dark, even though it’s dark and everything, I definitely enjoyed it. And I had Sam and Jacob, which they were incredible scene partners, and we all had each other. We made sure that throughout the whole process, our mental health, even though we’re like hysterically crying sometimes that afterwards, our mental health was still good,
SAM REID: I think to Bailey’s point, like, sometimes the darkest jobs or the darkest sets where the material is the most bleak are the most fun, because, we instinctively know how to just kind of like, help ourselves through that. So, we’ll be making a lot of jokes. You know, it is ridiculous, sometimes what we’re doing, and you have to step back and think [laughs] You know, we’re suspended in the air, covered in blood, so we just kept it light. It was a fun thing to do.
JACOB ANDERSON: Yeah, I agree. I mean, it’s dense. It’s dense, so you need to focus on the language as well. Like, aside from, yeah, we had a lot of fun, but when you’re doing the scene, you focus on what you’re doing. And I think if you let yourself get dragged into it too much, then hard to to do your job, I think.
Jamie from STARRY MAG: Bailey, this is such a beautiful costume you have. Talk about when you first saw what you’d be wearing for the series, and if you had any input, and if it takes really putting on that costume to embody your character.
BAILEY BASS: Costume is one of my favorite things in my job, being able to speak with the costume designer and be able to talk about what she saw when she read the script, because it’s not just me, it’s a big collaboration of an incredible crew that helps make us look good, basically. And to be able to talk to hair, makeup, and costume and get to know what their first ideas were when they read the script, and then being able to collaborate with them and say what I thought, was really, really fun. And the costume designer for this show, Carol, was just so collaborative. I came in and we were talking about posture. That’s a very big thing for Claudia, because in the beginning, she’s like fourteen years old, and she’s excited being a vampire. She would shrug a lot and just walked like, however and had terrible posture. So, the costume designer would think about that when she was making the costumes. And then also I have to look like a little girl. So, she created these beautiful bows along with making sure that the shape of my costumes hid any curves possible. So, when I put them on, I really felt like a little girl. So, when I was doing the scenes where Claudia is struggling, she wants to be a woman, and I’m sitting in this pink dress that it’s not flattering to anything that’s me as Bailey, it was really easy to feel what Claudia would be feeling at that moment.
Suzanne: I really enjoyed the wedding scene and your dancing, Jacob; that was great. Was that actually you dancing? And did you have to train for that, or did you already know how, and will there be any more singing or dancing in the show?
JACOB ANDERSON: That was me and Steven Norfleet, who plays Paul, and we had about a month to train, to practice. I don’t know if you’ve ever done tap dancing, but it’s like learning how to walk again, like how to walk for the first time, like to get your brain to coordinate in that way and to like shift the weight of your body is really confusing. And to add to that we did a lot of our lessons on Sikkim (???). And it’s all like, it’s all sound. You like making music with your feet, but with the lag of, of like, you know, doing it online. But you just drill; you just drill it every day. You drill it every day, and just you have to listen. It’s less about like being mechanical about your body and just like listening to the sound. But there is there is more dancing in the show.
Suzanne: Oh, good.
JACOB ANDERSON: Yeah. It was in the trailer, right?
SAM REID: Yeah, the three of us did dancing lessons.
JACOB ANDERSON: Yeah, we did.
QUESTION: I’m curious to just have any of you or all of you talk a little bit about what you love most about the dynamic between all three of your characters, either once Claudia comes in, or kind of as that progresses.
JACOB ANDERSON: I find it, I think from Louis’ point of view, he’s trying to recreate a kind of family dynamic that he is grieving for in his human life. I think it’s probably the thing that he misses most in some ways. It’s like a grounding thing, is his brother and his sister and his mom, maybe to a lesser extent, but maybe not. So, I find the way that it kind of goes for them, and for him, it’s kind of unexpected. I think he wanted, he was hoping that in bringing somebody else into their family, I think he thought that Claudia might be like him. [laughs] So, it’s interesting. I feel like an outcast, but to also be a part of – I mean, I’ll let Bailey talk more about about that part of it, but really, Claudia ends up being sort of forgotten about a little bit, and their dynamic, which is sad.
BAILEY BASS: I think what’s wonderful though, is that there’s really no protagonist or antagonist. It changes through every scene in every episode, because these characters are so specific and complex, and Rolin Jones, the writer of the show, did an incredible job of explaining in depth why we do what we do. There’s a reason why we kill the people that we do, why we hurt each other. And because of that, the viewer kind of feels bad for the person hurting the other, but then also feels bad for the person being hurt.
QUESTION: So, obviously, as vampires, your characters live very long lives. Which era would you like to see, be able to play your character in?
JACOB ANDERSON: 80s 80s 80s. I want the pastels. I want the hair. Let’s go, 80s.
SAM REID: I’d probably do the 1700s. I think Lestat really that is where he’s from, and that’s the era in which he was born into, so I’d quite like to see him in that in that era.
BAILEY BASS: I just want to get to the 50s. Like, I just want Claudia to get to the 50s so I can wear all those skirts and just explore more hairstyles, because we evolved. Doing the prep work, there wasn’t a lot of hairstyles – we had a horrible of time looking for photos of black girls in that time period with very versatile hair, which we know they existed, just no one took pictures of them. So, to be able to expand that more and show women who have curly hair, that this is what they look like in that time. I’d love to expand that and go into the 40s and 50s.
AMC+ KICKS OFF OCTOBER WITH HIGHLY ANTICIPATED PREMIERES FOR THE WALKING DEAD, WHICH BEGINS ITS EPIC EIGHT-EPISODE CONCLUSION, AND ANNE RICE’S INTERVIEW WITH THE VAMPIRE
September 16, 2022
New York, NY – September 16, 2022 – This fall, AMC Networks’ targeted streaming services will feature a number of highly anticipated series debuts and sendoffs including the premieres of the final season of The Walking Dead, and the eagerly-awaited new series Anne Rice’s Interview with the Vampire, both on October 2, the series finale of acclaimed Kevin Can F**K Himself on October 3, the season finale of AMC+ Original Pantheon on October 13, as well as the return of popular IFC Original series, Documentary Now! and Sherman’s Showcase, on October 19 and October 26, respectively.
This month also features exclusive new film premieres rolling out every week in October with AMC+ Exclusive Films from Shudder’s Halloween lineup, including horror comedy Deadstream (October 6), Italian thriller Dark Glasses (October 13), gothic fairytale She Will (October 13), the latest installment in anthology franchise, V/H/S/99 (October 20) and the diabolically entertaining Resurrection (October 28).
The company’s targeted streamers also set to bring viewers an extensive catalogue of compelling dramas, fan-favorite franchises, highly anticipated films and timely collections on AMC+, Acorn TV, ALLBLK, IFC Films Unlimited, Shudder and Sundance Now, and the newly acquired anime-focused HIDIVE, all month long.
Anne Rice’s Interview with The Vampire
Two-Episode Series Premiere Sunday, October 2; Subsequent Episodes Available One Week Early on AMC+
A sensuous, contemporary reinvention of Anne Rice’s revolutionary gothic novel, Anne Rice’s Interview with the Vampire follows Louis de Pointe du Lac (Jacob Anderson), Lestat de Lioncourt (Sam Reid) and Claudia’s (Bailey Bass) epic story of love, blood, and the perils of immortality, as told to journalist Daniel Molloy (Eric Bogosian). Chafing at the limitations of life as a black man in 1900s New Orleans, Louis finds it impossible to resist the rakish Lestat De Lioncourt’s offer of the ultimate escape: joining him as his vampire companion. But Louis’s intoxicating new powers come with a violent price, and the introduction of Lestat’s newest fledgling, the child vampire Claudia, soon sets them on a decades-long path of revenge and atonement.
AMC NETWORKS DOUBLES DOWN ON ANNE RICE’S ICONIC FRANCHISE WITH RENEWAL OF ANNE RICE’S INTERVIEW WITH THE VAMPIRE FOR A SECOND SEASON, AHEAD OF SERIES’ ANTICIPATED DEBUT ON OCTOBER 2
September 28, 2022
NEW YORK – September 28, 2022 – AMC Networks announced today the renewal of Anne Rice’s Interview with the Vampire for a second season, ahead of the new series’ anticipated debut on AMC and AMC+ on Sunday, October 2. A sensuous, contemporary adaptation of Rice’s revolutionary gothic novel, Anne Rice’s Interview with the Vampire follows Louis de Pointe du Lac (Jacob Anderson), Lestat de Lioncourt (Sam Reid) and Claudia’s (Bailey Bass) epic story of love, blood, and the perils of immortality, as told to journalist Daniel Molloy (Eric Bogosian). The 8-episode second season will be set in Europe with Oscar and Emmy Award-winning producer Mark Johnson (Breaking Bad, Better Call Saul, Halt and Catch Fire, Rectify) and Showrunner Rolin Jones (Perry Mason, Friday Night Lights) executive producing.
“The scope and breadth of this show, and what Mark and Rolin have delivered, is just stupendous. They have rendered the rich and vibrant world of Anne Rice’s Interview in a wonderful way, and we’re incredibly proud. From the set build, to production design, costumes and more — no detail was overlooked. This stellar cast deliver powerful performances that emotionally connect us to these characters and their humanity,” said Dan McDermott, president of original programming for AMC Networks and AMC Studios. “We look forward to sharing the final product of this extraordinary effort with audiences in just a few short days and are thrilled that this story will continue. This is only the beginning of an entire Universe featuring enthralling stories and characters that capture the spirit of Anne Rice’s amazing work.”
Said Johnson: “The opportunity to revisit the passionate and shocking world of Louis, Lestat and Claudia is irresistible. We will happily walk through the doorway that AMC has so kindly opened for us and deliver a season two that takes full advantage of the wonders bestowed upon us by Anne Rice.”
Said Jones: “Bulgaria. Romania. Paris. (Ah Paris!) San Francisco. New Orleans. Dubai. The writing staff of Anne Rice’s Interview with the Vampire is honored, humbled, and hungry to add more stamps to our vamps’ passport books. All praises be to our fearless network, we shall endeavor not to screw it up.”
The company will also launch an Interview with the Vampire Podcast, hosted by writer/comedian/vampire-enthusiast Naomi Ekperigin, with the first preview episode available today. Each week, Ekperigin will be joined by the actors and writers behind the show – unpacking the twists and turns of every episode. Podcast episodes will feature exclusive behind-the-scenes stories from the set and writers’ room and take a deep dive on the history of the vampire genre with horror experts sharing how the vampire lore has changed and morphed over time – and what has compelled us to follow these terrifying, seductive creatures across centuries. New podcast episodes are available each week wherever you get your podcasts following new episodes of Interview with the Vampire on AMC and AMC+. The AMC+ Interview with the Vampire Podcast is produced by AMC in conjunction with Pineapple Street Studios.
Ekperigin’s writing credits include BROAD CITY, SEARCH PARTY, MRS. FLETCHER, GREAT NEWS, and DIFFICULT PEOPLE. She has developed for ABC and Comedy Central and is currently developing for Hulu. Ekperigin’s acting credits include Apple’s MYTHIC QUEST, ME TIME, with Kevin Hart and Mark Wahlberg, SEARCH PARTY and SINGLE PARENTS. She co-hosts the popular live show and podcast COUPLES THERAPY with her partner Andy Beckerman and I LOVE A LIFETIME MOVIE with fellow comedian Megan Gailey. As a comedian, she has appeared on 2 DOPE QUEENS on HBO and LATE NIGHT WITH SETH MEYERS. Her half-hour special is on Netflix as part of their series, THE STANDUPS.
AMC Networks acquired the rights to Rice’s iconic works, encompassing 18 titles including The Vampire Chronicles and The Lives Of The Mayfair Witches series, in 2020 with Interview as the first title to be developed and greenlit to series. The second series, Anne Rice’s Mayfair Witches, starring Alexandra Daddario, Jack Huston, Tongayi Chirisa and Harry Hamlin and executive produced by Johnson, Showrunner Esta Spalding (Masters of Sex), Writer Michelle Ashford (Masters of Sex), Director Michael Uppendahl and Jeff Freilich, is set to debut in January.
AMC Networks holds the comprehensive rights for this world renowned and globally coveted intellectual property to develop for its own television networks and streaming services under the AMC Studios umbrella, as well as external partner licensing, with the late Anne Rice and her son Christopher Rice serving as executive producers on all series and films. Together, The Vampire Chronicles and The Lives of the Mayfair series have sold more than 150 million copies worldwide.
About AMC Networks Inc.
AMC Networks is a global entertainment company known for its popular and critically-acclaimed content. Its portfolio of brands includes AMC, BBC AMERICA (operated through a joint venture with BBC Studios), IFC, SundanceTV, WE tv, IFC Films, and a number of fast-growing streaming services, including the AMC+ premium streaming bundle, Acorn TV, Shudder, Sundance Now and ALLBLK. AMC Studios, the Company’s in-house studio, production and distribution operation, is behind award-winning owned series and franchises, including The Walking Dead, the highest-rated series in cable history. The Company also operates AMC Networks International, its international programming business, and 25/7 Media, its production services business.
Interview with Victor Garber, Jewel Staite, Zach Smadu, Genelle Williams, Jory Randall and Susin Nielson of “Family Law” on The CW by Suzanne 9/29/22
I really love this cast, but I’m worried that the show’s writing is not as good as it should be. I believe they’ve made Jewel’s character too unlikable. We’ll see, I guess. This is a Canadian show, renewed for a third season, so it must already be popular up there.
It was a very fun panel with a lot of joking around. I really enjoyed it. I love Victor Garber from “Alias,” “The Flash” and “Legends of Tomorrow,” and Jewel Staite from “Firefly” and “Stargate: Atlantis.”
THE CW NETWORK
Family Law
Jewel Staite “Abigail Bianchi,” Victor Garber “Harry Svensson,”
HOST: Hello, and welcome to the virtual press panel for the CW’S new drama series, Family Law. We are excited to have Jewel Staite, Victor Garber, Zach Smadu, Genelle Williams, creator and showrunner season, Susin Nielsen and executive producer Jody Randall participating on the panel today. Family Law follows lawyer and recovering alcoholic Abigail Bianchi, struggling to put her career and family back together after hitting rock bottom. As a condition of her probation, Abby is forced to work at her estranged father, Harry’s firm, Svensson & Associates, and practice in family law for the first time, while figuring new relationships with half-brother, Daniel and half-sister, Lucy, whom she’s never met. The result is a dysfunctional family law firm operating to help other families with their own dysfunctions. Premiering Sunday, October 2nd at 8:00 PM, this is Family Law.
HOST: Please welcome the cast and executive producers of Family Law. And as a reminder to press, if you’d like to ask a question, please click the “raise your hand” button and we will put you in the queue and call on you when it’s your turn. Um, on deck we have Jamie Ruby, and first up, we have Suzanne Lanoue.
SUZANNE: Hi. Thanks for talking to us today. You guys are great. I love the show. My question is for Victor and Jewel. Uh, can you tell us about your character’s father-daughter relationship and what it’s been like for you to play that?
VICTOR GARBER: Well, Jewel can’t talk, so you, do you wanna, do you wanna give them a clue as to why, why I said that?
JEWEL STAITE: Yeah. I, I have a really bad cold, but I sound worse than I feel.
VICTOR GARBER: That’s good. Cause you sound terrible.
JEWEL STAITE: I know. Really bad [OVERLAPPING] Do you want me to talk, do you want me to talk first? [OVERLAPPING]
VICTOR GARBER: Uh, hi. Nice of you to all be here. I can’t see you all, but I’m, I’m, I’m very excited that the show’s premiering on The CW. Um, I think it’s a great show that, the, the relationship between, Abigail and Harry is, is fraught, it’s fractured. And this is an attempt on, on both their parts to try to mend it. Um, and it’s, it’s, of course like all relationships, it takes more than you realize. And, and that is the thrust of the first… that is, that that’s the beginning, and it continues throughout the, the season. Uh, and it’s you know, it’s, it’s family law and in, in, in so many different ways. And they’re trying, they’re trying to find common ground, and they’re, they’re just not quite making it.
JEWEL STAITE: Which is interesting because Abby and Harry are very similar [LAUGHS]. They’re both really stubborn. They both like to win the argument. They both love to argue. So the dynamic is, is fraught, but it’s also really interesting to play because there are so many similarities between the two them that they haven’t noticed yet, of course.
VICTOR GARBER: They, they don’t notice that for quite some time. [LAUGHS]
SUZANNE: All right, thank you. And you don’t sound so bad, Jewel.
JEWEL STAITE: Aw. Thanks. See guys?
JORDY RANDALL: She’s being polite.
HOST: Okay. So, on deck we have Terrell Roister, and up now we have Karen Moul.
KAREN: Hi. thank you so much everybody, for speaking with us today. Jewel, I hate to make you talk, but I have a question about Abby. Uh, as the, as the series opens in that first episode, I think on paper, Abby is, she’s abrasive, she’s in denial about her mistakes. She’s, on paper, she’s maybe a little hard to like, and yet she hits the screen and I’m instantly rooting for her. And I hope you could talk a little bit about what audiences will see in Abby in these early episodes.
JEWEL STAITE: Um, first of all, that makes me feel so good. Because, initially when I started playing this role, I had this silly, you know, worry that she wouldn’t be likable. And then I realized in order to make her as authentic as possible, I had to throw that out the window. And it didn’t matter if she wasn’t likable or, you know, she just had to be as authentic as possible. Um, but she, she uses all of these coping mechanisms – the abrasiveness, the haughtiness, the overconfidence, her sense of humor to hide all of this hurt and this pain that she just simply doesn’t feel like dealing with. That is not something she’s interested in facing for a really, really long time. So it takes her quite a journey to admit any sort of mistake. And, and she’s only willing to do it, to get her family back and get her children back, really, that’s, that’s her sole priority. And unfortunately, her addiction gets in the way of that priority. Um, but she’s, she’s a person in a lot of pain. And it’s incredibly hard for her to be vulnerable to show them.
KAREN: Thank you.
JEWEL STAITE: Thank you.
HOST: On deck we have Mike Hughes and now we have Terrell Roister.
TERRELL: Oh, I guess is my turn. Hey guys, how you doing? Hey Terrell, Big Ol’ Bell Media, question for Jewel, Victor, Zach and Genelle. Uh, you know, watching, watching the episode and seeing you guys work as a family is super tense on the show. Very, very uncomfortable at times, cause you know, you guys don’t know each other. Um, what, what was the kind of like, what got you in the mindset to get you to, “Oh yeah, we’re, we’re all a family,” or to feel like a family on set? Or at least say, I guess a broken family, if I wanted to say [LAUGHS]?
JEWEL STAITE: You wanna go first?
ZACH SMADU: Yeah, I mean that, that, that is the fun of the, the dynamic between all of us as, as Victor and Jewel has kind of have touched on, the fact that we’re somewhat combative and, and private people who are all kind of forced together, both within the family life and also within the law firm. And how was that to play? I mean, to be honest, that’s, that’s not so easy, cause we actually genuinely really get along. But maybe that’s probably why it’s, it’s, it’s easy to kind of step into that in the acting world, cause we, we trust each other, we love being around each other on set, going to work. And, you know, there’s no egos, there’s no, no, no problems, interpersonal problems, it’s just fun. And so, you know, whatever the scene requires, it kind of, kind of came second nature to us. We were able to find that dynamic between all the siblings and, and with our, our father figure Harry as well, I think.
JEWEL STAITE: Yeah. I think, you know, we, we shot this show at the beginning of COVID. So we, we shot for two weeks and then we took this big long break, the whole world took a break. And in that break we had a lot of time to text each other and to really bond in this weird way. So, when we did start filming again in July to finish out the season, we were really, really close. And then, because we had to be in this safety bubble to make sure no one got COVID we, we became even closer. And, and, I don’t know about you guys, but like, I trust you so much that it, it makes the job so much easier. Because I know that whatever I kind of throw at you, you’ll riff on that and throw back at me, and vice versa. So it, it makes these interactions really fun. You know, we love playing combative because, you know, in real life we’re all just like sickeningly in love with each other.
GENELLE WILLIAMS: Not in “real life,” in real life. [LAUGHS]
JORDY RANDALL: But I what I want to know is how did the sibling relationships on the show play in real life. That’s the question, Jewel [INAUDIBLE]
GENELLE WILLIAMS: Yeah, because you stole my point, just like a big sister would. She literally said what I was gonna say. So yeah. [LAUGHS]
JEWEL STAITE: I would say, like Zach is more like the big brother. You know, like Genelle and I we, we’re, Zach is very good at kind of calming everyone down. (We’re crazy, that’s what she wants…) He’s the voice of voice of reason and he’s like, he’s a calming presence. So when Zach is around you, I, you just automatically feel, like my shoulders drop and, and he’s just got that kind of presence. So I would say if anybody, you know, in the sibling relationship is like the older, sage, more wise sibling, it would be Zach.
ZACH SMADU: Enough with the sage.
SUSIN NIELSEN: What do you think of that, Zach?
VICTOR GARBER: I find him confrontational. And kinda, it’s, it’s difficult some, some days, but I have overcome that. And now we’re, we’re doing, we’re doing much better.
JORDY RANDALL: Zach, you’re the father figure to Victor it sounds like.
ZACH SMADU: I guess, it sounds like that. It really plays into the Daniel/Harry story.
VICTOR GARBER: I will just say, I, I will just say they take care of me, 100%. I am, I am so in, I, I can’t really do anything without their help. And I mean, anything, order cereal on the, on… Ask Genelle how much money she’s forked out to get me the proper granola. It’s just, I rely on them for everything. And now that I’m home, I think, “Where, Oh, they’re not here.”
GENELLE WILLIAMS: If they ship to America, I literally thought, “Oh, I have to get Victor some cereal.” [LAUGHS]
HOST: We have actually a question for Susin and Jordy. Uh, what was the inspiration in creating the show? How near and dear to you is this project? And how did you get this amazing cast together?
JORDY RANDALL: Susin, you do have to speak. I told you.
SUSIN NIELSEN: Uh, yes. Alrighty. Well, um yeah, I, the, the, the idea is very near and dear to me. Um, my own [LAUGHS] my own family background isn’t as dramatic as the show, or these four. But, but certainly the nubbin of the idea came from a lot of my own family history. Um, I didn’t grow up with my dad, I grew up with my mother. I didn’t meet my father until I was a teenager, at which point I also met my half-brother and my half-sister. Now my father only had one subsequent relationship, not two. Um, but I think that I, in a lot of my work, you know, a lot of our, I think we’re, we’re all informed by our families. And so that was where the idea started to percolate. And I love working in the realm of drama and comedy. And so it just felt like the world of Family Law was a perfect place for this very dysfunctional family to be operating, and attempting to help other dysfunctional families, you know, while Abby is also trying to win back her husband and children as well. Um, so that was kind of the inception of the idea. And then in terms of the cast, Victor Garber, when somebody mentioned Victor Garber, I thought, well, yes, that would, that would be amazing. [LAUGHS] That will never happen. But that would be so amazing. So [LAUGHS]
VICTOR GARBER: Thank you, Susin. Your check is in the mail.
SUSIN NIELSEN: Um, and then when we were auditioning Abby, I just remember when, when we saw Jewel, I believe it was her callback audition. And you know, I just tell the story of just getting a jolt of electricity up my spine and just realizing, this is Abby, this, this is her. And it was such an exciting feeling. And then, of course we, and then we got Jewel together with some callbacks for the siblings. And again, it was just so obvious that it was Genelle and that it was Zach. And I was so excited because Zach actually rides a road bike [LAUGHS], so you didn’t have to fudge any of that.
ZACH SMADU: Yeah, that was one of the questions you asked as we were walking out the rooms. “Do you actually ride a bike?” I’m like, “I do. Got it. I got it.”
JORDY RANDALL: I think it’s one of those great stories where we look now and like, there’s nobody else who could have played these four parts other than these four people. Like, this is, what Susin visualized in this series is only possible with these four people, so we’re incredibly lucky. And I think when we look back at the development of the show, you ask if we’re passionate about it, I think we first talked about doing the show 10 years ago. I think we first had the idea, we started to develop it. And it’s been a journey and a labor of love. One of those things that you knew was gonna be a show. You knew it was gonna be a great show, but you kind of had to wait for the opportunity to rise, wait for the world to change and for it to open up. And I think we were lucky. We waited and we found that right moment where we got to finally do the show with the right people. So we’ve waited a long time to do this, so we, every day we’re thankful that we’re, we’re here and doing the show.
SUSIN NIELSEN: Well, and that’s kudos to you, Jordy for sure, that you kept believing in it as well. So, yeah.
JORDY RANDALL: But we’re right where we need to be now. So you can see the passion, you know, all of you watching these squares here, you can tell these, everyone here loves it.
HOST: I love it. So on deck, we have Abby Bernstein, and right now we have Mike Hughes.
MIKE HUGHES: This is for Susin and Jordy, and it kind of follows up on what Susin was saying before. We used to have quite a few shows like this, ones that had some comedy, some drama, and managed to solve a case at the end of each week. It kind of disappeared from American TV, but they’re making a comeback this year, “So Help Me, Todd, Rookie’s Fed and this one are three shows in that format. So, first of all, is Canada always consistent? We had these kind of comedy drama combinations throughout the years. And second of all, what is it that you really like about doing a show that has all of these things together and solves a case?
JORDY RANDALL: Well, I’ll answer the first part cause I think Susin will be best suited to answer the second part. I think for us, no, this is not a type of show that’s prevalent in Canada more than the United States. I think, as, you know, producers, we looked at this and, and said, this is the kind of show the world needs right now. You know, there’s a lot of darkness, there’s a lot of controversy over the last few years. Like, it felt like the world doesn’t need another dark serial killer show. What they need is something where you care about family and you laugh and you cry a little bit and you solve the case. Like we wanted the audience to feel something, go on a journey where they actually have a pleasant experience and have fun. Um, so no, I think that was a conscious choice that’s turning out to yes, be the trend now, but I think it felt like what the market needed.
MIKE HUGHES: And Susin, you mentioned…
SUSIN NIELSEN: You, I mentioned what?
MIKE HUGHES: That you like both comedy and drama and you like to combine them. So tell us about why you like that.
SUSIN NIELSEN: Yeah, I, I, you know, it’s funny. I think it’s just always been my sensibility. Um, uh, I also write young adult novels, and they’re always in that vein of, of comedy and drama. Um, for me I don’t know, for me that’s life, right? You laugh, you cry. And I tend, it tends to be my own viewing tastes as well. I love watching shows that can both kind of punch me in the gut emotionally and, and make me laugh. Um, you know, my favorite writers do that as well. Um, I, and I think on, you know, I actually think it’s, it’s really hard to do to, to have that blend of, of, of comedy and drama and know what the right balance is.
SUSIN NIELSEN: And certainly what’s so wonderful about our cast is that they get both of those avenues so well. So, you know, within the course of a few scenes, um… well, Episode 1, I mean, I’m, I’m feeling so bad for Abby when she’s talking to Nico on the phone and you realize that she’s separated from her children for the first time in the episode. And then she goes to AA and we realize, okay, she’s in AA and then she calls herself a shmalcoholic, and suddenly the tone changes again. And I just, I love playing with that kind of emotional journey.
JORDY RANDALL: And I think that’s one of, that’s, well that’s, that’s like a Susin Nielsen superpower, honestly. Is like, you can call this a light procedural, but it’s a comedic procedural with heart. Cause every single episode, you’re gonna feel something. And I think that’s the beauty of the show.
SUSIN NIELSEN: Well, and I do like to think of myself as the, as an optimist. It, sometimes it’s hard. But yeah, I like, you know, I’ll, I’ll be honest, like, I like writing a show that’s very hopeful. And we all have really effed up families, right? So I think we can also [OVERLAPPING]
VICTOR GARBER: What do you mean, Susin? What do you mean?
JORDY RANDALL: I thought we weren’t gonna talk about that.
SUSIN NIELSEN: And our, and most of our families make us crazy, but they also make us laugh sometimes too, hopefully.
HOST: Um, on deck we have Rick Bentley, and up now we have Abby Bernstein.
ABBY: Hi. Thank you all for doing this. Um, for anybody and everybody who’d like to discuss this, was there anything you had to learn in order to either write or play a legal procedural, comedic or dramatic in terms of how lawyers present themselves, or in terms of what the law is, or in terms of how to say the jargon?
ZACH SMADU: Uh, well, I will, I will say, I know Abby and well… Jewel and myself, continually have to learn and check with each other and check with Susin and the writers going, “Sorry, how do you say that word? And what does that mean again? What does that exactly mean?” Cause I, I can speak for myself, I didn’t know too much about the law in detail, let alone pretending to be a lawyer and, and make that realistic and make that, you know… There’s, there’s, it’s like any other procedural, if it’s a medical or, or a police procedural, there’s certain terms and, and lingo and ways in which that, there’s a turn of phrase that people use that if, if you don’t understand, and if you, if you’re not with what it actually means and how it’s used, it can fall very flat.
ZACH SMADU: And so I know, at least for myself, it’s been a challenge and something that I really wanted to make sure that I was always on, because, you know, you can, when you see it on television and it doesn’t ring true, well, it affects the show deeply. So, I’ve been studying law, I’m halfway through getting my diploma.
VICTOR GARBER: Oh, stop it.
JORDY RANDALL: It isn’t what it’s called.
ZACH SMADU: It’s a law degree? No, it has, it has a challenge.
VICTOR GARBER: Mythical law degree.
JEWEL STAITE: Um, Zach and I have talked a lot about the, the courtroom… bravado that you have to have as a lawyer. So it’s like, it’s like being an actor when you’re on stage, right? So when you’re doing your thing and you’re up there and you’re questioning the witness, what, what does this person do with their body? How do they exude confidence? What’s their walk in the courtroom? Um, and, and we both have our little tricks and things. And [LAUGHS] remember Zach, I was watching him question a witness, remember? And he, and he came out, he like, he like did this really good thing where he sort of like leaned on the witness box, in this like, casual way as he was just sort of tearing this person apart. And after that take, I was like, “I like the lean, buddy. I like the lean.” And he’s like, “Thanks.” And I’m like, “I’m gonna steal that.” And he’s like, “Don’t you dare.”
ZACH SMADU: Don’t you dare, that’s mine! [LAUGHS]
JEWEL STAITE: But you know, each character has to have their way of kind of taking control of the courtroom. So, that was interesting to learn. And, and I think, you know, I can speak for Zach as well as myself in saying that the courtroom days are the hardest. And it takes a lot of prep to learn the dialogue, to make it sound like it’s second nature, and to choreograph your moves. What line are you walking on when you have to hand over a prop, an envelope, a thing to the judge, to the, to the other lawyer, you know, the opposing council? There’s so many things to remember, that it’s literally, it’s like a dance. And, and we work on those for weeks [LAUGHS] before we actually shoot.
ZACH SMADU: Well, and it’s really important, because there’s so many little details in a single court scene that, you know, there’s one line or there’s one piece of information that the audience needs to understand. And if, you know, you don’t build to that part, and it is a dance, or it’s like a song, right? If you don’t actually hit the melody at the right time and make it clear and make it obvious and, and let that scene sing, then it’s not gonna work. And so it can fall flat.
SUSIN NIELSEN: Yeah. And I guess I would say from the, you know, from the writing point of view, I too know very little about family law. But I know more now than when I started. Um, and we have wonderful consultants who, who really help us out. And so we’ll often start with, you know, we’ll, we read copious articles and books and we have all sorts of ideas for cases. Some are torn from the headlines, some are…. there’s a beautiful episode in, in Season 1 where some of it takes place in a memory care home, a woman who has early onset Alzheimer’s. And that came from reading an article in, in the New Yorker.
SUSIN NIELSEN: And we figured out a way to build it into a court case. And so, often what we’ll do is we’ll come up with the idea and we’ll come up with the things that we’d like to have happen, and then we run it by our consultant. [LAUGHS] And, and she’s great because she actually helps us figure out how to make it work within, mostly the realm of the law. We call it TV law. Um, you know, some of our law is maybe a little more Canadian, some of it’s more American. It’s TV law.
ABBY: Thank you.
HOST: We have a question actually for Genelle. What similarities are there between you and your character, and what are the differences, and how do you relate to your character?
GENELLE WILLIAMS: Similarities? Um, I, I actually don’t, I, I get asked this question often, and I could be wrong. Maybe Jewel or Zach or Victor might say something different. Um, but I don’t find myself that similar to Lucy other than her being, you know, very empathetic and caring and loving. I guess that’s a lot of things, huh?
VICTOR GARBER: Yeah, that’s a lot. You’re, you’re exactly like her.
GENELLE WILLIAMS: I think she’s way smarter than I am, cause she really genuinely is. She’s an incredibly intellectual young woman. Um, I’m smart, but not that smart. Um, I, I thoroughly enjoy playing Lucy for those reasons, I think just because she is very strong. She’s wise beyond her years. Um, and as much as she’s very self-aware of herself, she’s also, like I said, very sympathetic and very loving. And she’ll see, you know, both sides of things. Where I sometimes, especially with Abby and Daniel, where they can be very, by-the-book or extreme one way or the other, she tends to kind of be able to give this middle ground, which is nice. Which I guess again, is similar to me. So, ignore what I said in the beginning about me.
VICTOR GARBER: Yeah, exactly. She’s exactly like you.
GENELLE WILLIAMS: I’m, I’m more like Lucy than I think.
VICTOR GARBER: I’m so glad you worked that out. I’m so glad you worked it out.
GENELLE WILLIAMS: I didn’t know!
JEWEL STAITE: You’re more fun. (Pardon?) You’re fun and silly and like, I don’t know, you’re just like a very warm, kind of radiating, like a, you know, you’re, you’re just like a super friendly kind of person and…
ZACH SMADU: Yeah, you don’t take yourself too seriously. (More guarded) But yeah, I would say, I would say Lucy is way more guarded.
GENELLE WILLIAMS: Lucy is much more guarded.
ZACH SMADU: But you have the same superpower that Lucy has. You can see it in the, in the scenes when she’s doing therapy sessions or whatever. You have the same, in real life of being able to instantaneously connect with people. Right? You know, we’re out for dinner and you, you know everybody’s, every, every server, every person, every, the host, all their names and their backstory. Like, we’ve been here for five minutes. Like, how, how do you know? How do you know what? But she just said she, you have the, the exact same [OVERLAPPING]
VICTOR GARBER: Genelle, Genelle is the personification of joy that’s just… (Oh, guys) Every time she walks in a room, there’s like, “Oh, why is, Oh, I feel, oh, this is… [INAUDIBLE].”
JEWEL STAITE: That’s true.
GENELLE WILLIAMS: I love you all. Thank you. Thank you. Well, you made me cry.
VICTOR GARBER: That’s the point, yeah.
ZACH SMADU: Something that Lucy also does, yes.
GENELLE WILLIAMS: Lucy, Lucy definitely, Lucy can be emotional. I just, the other day, wasn’t I, Susin told the other day, to not be so emotional. I remember this clearly. Lucy, Lucy, sometimes yeah, could be a little emotional. [LAUGHS]
HOST: Genelle, we need to be friends. Um, so on deck, we have Bruce Miller and up now we have Rick Bentley.
RICK: Thank you very much. Victor, I have a two part question for you.
VICTOR GARBER: Oh now, can’t do two parts.
RICK: Then we’ll do it as A and B. (Okay) Could you talk a little bit about play, the, the differences between playing Harry, the father and Harry, the legal eagle? And then on the, the second question is, do you look at yourself as sort of the personification of authority figures? Cause I think going all the way back to Godspell, you have by characters who are, who are in charge, people who lead. And I’m just wondering, are those the roles that attract you or, or do they see you, casting people see you in those roles?
VICTOR GARBER: You know, I honestly don’t know how casting people see me. But I know when I read something, if it’s something I feel compelled to do. And this, this role, I, I was, this, this came out of the blue, this, this, this script. And I said, Oh, this is really good. Um, and I want to, to do this. And I, you know, I, I think I, I do have a need to… I, I think I’d be a terrible lawyer because I would be on both sides all the time. And I, that’s, that’s, I, I do find that I, it’s hard for me to, you know, I, I know what I think is right and um, but I also have compassion for people who don’t… know what’s right. And I think that’s why it’s a good fit for me. I think this role is… and as a father, that’s, that’s the, the joy of playing this role because it’s so, it’s, it’s always, it’s always changing, you know?
VICTOR GARBER: And, and Harry’s problem or, or relationship with Abigail is, is so compelling. And it, and it, it’s shifted for those reasons. That he, he, he wants to be paternal, she won’t let him. And then he real and then, and then she’s, she’s so adversarial and he won’t, and he can’t, he can’t not fight. So there as, as, as, as Joel was saying, they are so similar. And that was really one of, that’s the joy of playing this role. It’s so multidimensional. Uh, and it, it’s challenging for me, which is really all I asked for in a role.
VICTOR: Did I answer the second part? (Yes, sure) Okay. Do you wanna know what I had for breakfast?
ZACH SMADU: Was it cereal?
VICTOR GARBER: It was cereal.
HOST: On deck we have Laura Novak, and up now we have Bruce Miller.
BRUCE: This is for Victor, too. I, I was just curious, how many lawyers have you played?
VICTOR GARBER: You know what, you have to read the resume, cause I don’t remember. Not that many. I mean, I know, not that many. Um, I’m sure I have… Oh, I was, oh, in Legally Blonde, I was a really terrible lawyer. (Bad one) Um, that’s the most, I think that’s, I, but I’m sure I’ve played more. But, I really don’t remember. I, I, I sometimes wonder how I’ve gotten this far because I don’t remember how I got here.
BRUCE: So nothing carries over then from one lawyer to another?
VICTOR GARBER: Well, of course, I mean, I, I, I mean, on some level, but not consciously. Because, you know, you can only do what the script is giving you to do. You know, and all scripts are different, and some are better than others. The, the, these scripts are better than other scripts I’ve, I’ve… been involved with. And, and so it’s, it’s really, it’s a gift really for an actor. It’s always on the page, always starts on the page. And that’s what, that’s what I always am completely taken with. Um, and I made decisions, for other reasons and I was wrong because the script wasn’t, I knew the script wasn’t right for me, and I shouldn’t, I, I think, oh, well, like, sorry I did that. I’m not, I’m not gonna give you the names of those things.
SUSIN NIELSEN: Later Victor, over drinks.
VICTOR GARBER: Yeah. Oh, you know.
HOST: I wanted to do a quick last call for questions. Um, on deck we have Lou Ann Lee, and up next we have Laura Nokak.
LAURA: Hi this question is for Jewel. I’d also like to hear from Zach and Genelle. Uh, how did you feel about inheriting half siblings you’ve never met and then having to work with them daily?
JEWEL STAITE: Well, I mean, that’s a pretty wild concept, to begin with. I cannot imagine having to do something like that, especially in the position that Abby’s in where her tail is between her legs, and she is so ashamed and is, you know, living at her mom’s, and her life is falling apart and she’s gotta strut into that office acting like she already owns the place. And I think deep down she’s probably pretty terrified. Um, so it takes her a long, long time to figure out what her relationships are with these two people. I think Lucy comes on pretty strong, wants to be buddies, wants to be sisters.
JEWEL STAITE: And Abby, by nature is just not super into that, and doesn’t have very many friends. Abby is not the type of person to have a best friend. Um, and so that’s just completely foreign to her. And Lucy, you know, is often quite affectionate and tries to link arms with her and give her hugs. And it’s like, you know, there’s like one moment where Lucy’s really despondent and sad and at a loss, and Abby sits next to her and doesn’t know what to do. Um, and just sort of like puts like a really awkward, like quick hand on her lap, cause she really is just so clueless.
JEWEL STAITE: Um, and then with Daniel, you know, I think Abby really respects Daniel when she sees what he can do in the courtroom, she, she thinks he’s a pretty great lawyer. And they’ve got this weird relationship where she slams into his face, but talks really nice about him behind his back. [LAUGHS] And, and it, sort of does this, like this sisterly thing where, you know, she comes to Harry and says, “you gotta give him more credit. He’s really good at this. And the way you treat him is not okay.” You know, and, and essentially stands up for her brother, but Daniel never knows, He never knows about that. And it’s really interesting that Abby’s not willing to give that away.
GENELLE WILLIAMS: I think the beautiful thing is that, it’s not in, in this situation, especially for, for all three of us, it’s not that we didn’t know each other existed. So, yeah, you know, Lucy’s always known that she’s had this sister and she’s always wanted to have a relationship with her. It wasn’t a surprise that she existed. So, I, I think this longing to have her, as Abby said, she comes on strong because all she’s ever wanted was to have this sisterly bond. She’s always been close with Daniel, of course. Daniel and Lucy have had a relationship from the very beginning. But unfortunately with Abby, she hasn’t. So she does try every single tactic to try and get Abby to love her, and she does, in her own sort of messed-up way.
JEWEL STAITE: That’s true. [INAUDIBLE]
GENELLE WILLIAMS: Yeah. I mean she, she does, she does love her. She plays hard to get. But I think, based off of your question, it’s, it’s a, it’s a nice thing because it’s something that Lucy has always wanted. And she’s always known that she’s been there. And this is a day that she’s been waiting for. So there isn’t this big surprise. So, to play it was fabulous. I mean, I wanted her to like me even in the, in the casting, in the audition process, I wanted…
JEWEL STAITE: And I love you.
GENELLE WILLIAMS: And I don’t whether she, she took to my love very well the very first time I met her. But [LAUGHS] other than that, I mean…
JEWEL STAITE: She was overly friendly in the audition room, and I was so stressed because, hey, guess what, I was auditioning. And Genelle [OVERLAPPING]
GENELLE WILLIAMS: I could have wrapped her in my arms, I could’ve.
JEWEL STAITE: It was so annoying. She was like, “I love your shoes. Where are you from? Have you been in this restaurant?” And I was like, Oh my God, I’m trying to memorize this monologue. Like, I wanna get this job, girl. [OVERLAPPING]
ZACH SMADU: Well, in, in big contrast to, to Lucy, I think for Daniel it’s quite the opposite. I think Abby showing up is kind of the worst thing, both for his professional world and also the family dynamic that he has. He’s, he’s, it’s literally changes the pecking order in the family, you know, as Genelle and, and Jewel have said that we’ve known about each other, but we’ve never had any interaction. So when Abby shows up, Daniel goes from being, you know, the, the older son in his own mind, to being the middle child, to also being, you know, a partnered lawyer with his stepsister that he doesn’t know, who is quite competent and quite good, despite all the, the shame and the, the backstory that she comes into.
ZACH SMADU: So it’s really a challenge for him to find where he lands within the family with, within Harry’s eyes. And also how he, Daniel is quite competitive in, in nature. So Abby is, is quite the foil for him constantly. And I think Daniel’s also very protective of the relationship, the, the one relationship he has with, with Lucy. So even Lucy’s, you know, eyes and arms, you know, reaching out to, to welcome Abby is, is kind of threatening to Daniel. So it provides a lot of, a lot of a lot of conflict for, for him especially. Well, I mean, I think it still does as the seasons have gone on. So it’s, it’s very fun to play.
HOST: Okay. So last question is with Lou Ann Lee.
LOU ANN: Yeah. Victor, you’ve played everything from Jesus to the devil. Actors tell us that villains are much easier to play than the good guy, but you are so good at the good guy. What are the secrets of playing that kind of character?
VICTOR GARBER: I have no secrets. I, I don’t know. I, I all, all I can tell you is that everyone is complex. Everyone has, you know aspects of their personality that they can rely on. And, and some, and they’re lost in, in other situations that they don’t know how to respond. And it’s, honestly, I don’t really think of them as evil or good. I just think of them as people. Do they have a problem? Do they, is there a challenge? Is there, you know, and I use this word “objective.” But it’s, it’s, it’s, it’s really, really dependent on what the writing is, and who you’re acting with.
VICTOR GARBER: You know, you, I mean, Jewel and I have had scenes where things have come up at where, where we’re having a confrontation or something, where something comes up and sort of… and because we’re both in the moment, it hits us in a completely, an undiscovered way. Cause you can’t plan anything as an actor. I mean, you can plan certain things, of course, but I mean, in terms, if you start planning how you’re going to respond to people, you might as well just stop acting, because that’s just not okay.
VICTOR GARBER: And, and so really honestly, it’s about being in the moment. And, you know, it’s, if it’s in the script that you do something that is, that is not okay, you, you have to somehow believe that you’re, it is in your, in your own way. And so really, it’s really acting and, and I’m just so grateful that the three actors, that your other three actors are on this panel, are just, I, I cannot tell you how impressed I am by their level of professionalism, of talent, of support, of empathy, of and humor.
VICTOR GARBER: We, we, that’s the secret, to me, of why this show is working as well as it is, aside from the incredible writing. It’s, it’s this chemistry, and it’s a magical thing, and it’s indescribable and it doesn’t always happen.
LOU ANN: Thank you.
HOST: Perfect way to end the panel. Um, thank you for joining us today. Thank you to everyone for your participation. As a reminder, Family Law premiers Sunday, October 2nd on The CW. I hope everyone has an awesome day.
SERIES PREMIERE – Abigail (Jewel Staite) begins her probationary period at Svensson and Associates, forced to work with her estranged father Harry (Victor Garber) and her half-siblings Daniel (Zach Smadu) and Lucy (Genelle Williams). She immediately oversteps her low-level position by helping Jeanette, a woman who found her sperm donor via Craigslist, track down the father of her now 13-year-old daughter and sue him for retroactive child support. But when Abigail sees the toll this case is taking on her client’s daughter (who simply wants a relationship with her dad) she fears her intervention might tear this family apart; mirroring her own family situation. Meanwhile, Abby is still stung by her separation from her husband Frank (guest star Luke Camilleri) and misses her kids terribly. Lastly, Daniel, is dealing with a custody battle of his own…an arbitration over a pug called Craig. Lauren Holly also stars. The episode was written by Susin Nielsen and directed by Jordan Canning (#101). Original airdate 10/2/2022.
Parenthood
SeasonS.1
Episode 102
Airdate:
PARENTHOOD – Abigail (Jewel Staite) and Daniel (Zach Smadu) represent a couple with Down syndrome who must prove to authorities they are fit to raise their unborn child. Social services has threatened to take the baby away unless Ellie and Levi can prove they are capable parents. Abigail and Daniel agree to represent them and try creative ways to come up with a workable parenting plan, but obstacles – including Harry (Victor Garber) – litter their path. Meanwhile, Lucy (Genelle Williams) prefers to avoid the whole topic of parenthood altogether, which proves difficult when her wife Maggie (guest star Ali Liebert) ups the pressure to start a family. And when Abigail discovers Nico (guest star Brenden Sunderland) is being bullied at school, she confronts his tormentor but takes it too far. Lauren Holly also stars. The episode was written by Susin Nielsen and directed by Jordan Canning (#102). Original airdate 10/9/2022.
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CBS ORDERS THREE NEW ORIGINAL HOLIDAY MOVIES FOR 2022
In conclusion, the cast and producers expressed their excitement for “Lopez vs. Lopez” and its potential to resonate with audiences, sparking conversations and connections within their own families. They recognized the significance of being part of a show that represents the Latinx community while telling universal stories of flawed, yet loving families.
George Lopez is back in primetime and this time he’s bringing his real-life daughter, Mayan. This hilarious and heartwarming comedy tells the story of a working-class old-school Latino who moves in with his modern Gen Z daughter as they rebuild their dysfunctional relationship one argument at a time. It’s old vs. new, father vs. daughter, Lopez vs. Lopez.
Al Madrigal
Here are the opening remarks, to tell you about the show. “Thanks for joining us to learn more about “La Reina del Sur,” Season 3. In 2011, the launch of “La Reina del Sur” propelled Telemundo to the top of the charts, and gave way to Telemundo’s Super Series franchise. The first two seasons of this blockbuster hit, which has since been adapted in English by USA Network, reigned as the #1 program in its time slot in the United States, regardless of language. Now Telemundo’s global hit returns for a third season with the unstoppable Teresa Mendoza, portrayed by superstar Kate del Castillo. Season 3 of “La Reina del Sur” opens four years after the second season with Teresa Mendoza behind bars in the U.S. for the murders of three DEA agents. Stripped of her freedom, she’s, once again, separated from her beloved daughter Sofia. After being freed in a dramatic jailbreak, Teresa returns to a covert world powered by alliances and secret deals. Risking her life throughout Latin America with the fervent hope that she can reunite with Sofia, and end her life as a fugitive, once and for all. “La Reina del Sur” premieres in October. Joining us today is Kate del Castillo. We’re now ready to take your questions.
Then she was asked why it took 8 years between the first and second seasons (I had wondered that, too). She explained that it was because she had gone to the U.S. and was doing other projects as a result of how successful “La Reina Del Sur” was. She didn’t expect another season, and neither did the author. Then Telemundo grew, and people became more aware of her because of movies and series she did, but she always had Teresa Mendoza on her mind. She expressed how much fun it was to play her. Eventually, they called her and told her that Reverte was involved, and they would make a new season. So she agreed because of that, and because she loved the idea of playing Teresa again. She was very surprised that it was even more successful than the first one. She didn’t think people would even care, since it was 8 years later.
Inspired by actual events, Let’s Get Physical is the story of fitness instructor Sadie (Jenna Dewan, The Rookie) who by day, taught fitness and dance to soccer moms, but by night led a double life running a sophisticated prostitution ring with a customer list that included very prominent men in the community. After an anonymous tip, authorities raided her studio, leading to Sadie’s indictment and ignited a firestorm in the small town leading everyone to ask, who exactly was on the client list. Dewan executive produces and stars alongside Jennifer Irwin (The Goldbergs) and Michael Consuelos (Riverdale). Let’s Get Physical is set to premiere Saturday, October 15 at 8/7c.
Most of the press asked Max questions, but I really love Billy Burke (ever since I saw him in the “Twilight” movies! And he’s been great in many shows I love, such as “Revolution” and “Major Crimes”), and Diane Farr (who plays Sharon) is also great. They play spouses in this show. There’s a bit of familial reveal at the end of the first episode, too. I asked them if they could speak a little bit about their characters’ relationship, and their relationship with the main character, Bode (Max).
get off this call.” Whether he’s filming or working at home, it’s no different for him. He just has a bit more work than he’s used to, and he’s getting “a lot more emails” than he’s used to from his “Fire Country” co-workers, so he has a hard time keeping up on that, but he enjoys the work.
MORE INFO: 
Captain Paolo was asked if he’d had any acting experience, but he hadn’t. He said he was just playing himself in the show, so he doesn’t consider this acting experience, but he said it was “incredible.” He was asked whether the singls on the show really talk to the captain about how much they want love and whether he believes their stories, and how did he help them. He confirmed that the cruise director, Matt, and the bartender, Ezra, gathered info about the singles and what happened with them, and they all worked to help them out, “to either fortify or strengthen their bond or maybe try to open themselves up to other opportunities out there with other singles until they find the real love.”
Sins of the Father