"I think it very accurately reflects my perspective on the industry, in that I am incredibly frustrated with some aspects of it, but also overall very enamored by it. The show is such a love letter to our world, and the reaction within our community is just incredible. And so many people are like, Oh, I think that was me. That was a conversation we had, right?' And I'm like, you don't want to know."
"We made a small show in the middle of Yorkshire last year, and we hope that it would spark a little conversation in the U.K. And now we're at the Emmys. Let me tell you. I've been doing this carpet and a lot of people don't know we exist as a show. So it's great to get more eyeballs on it. It got bigger and weirder and just people responded to what we were doing."
"We take a lot of risks on the show and I think that's kind of exciting. There was moments where I read some episodes and I was like, can we pull this off? I don't know? Mike White and the characters that come out of his imagination force us to look at ourselves in critical ways. That thread of continuity of it all being one day is quite a puzzle, but it's a fun one."
The television industry elicits both frustration and deep affection from its participants, reflecting tensions around creative and structural elements. Certain shows function as love letters to the industry’s world, prompting strong community reactions and recognition when viewers see themselves mirrored in scenes. Platforms aim to host original content and prioritize storytellers’ most meaningful work, with some productions expanding from modest regional beginnings to international visibility and awards attention. Risk-taking production choices, occasionally bordering on the unproducible, push creative boundaries. Imaginative creators and complex narrative devices, such as single-day continuity, challenge audiences while offering a distinctive viewing experience.
Read at www.nytimes.com
Unable to calculate read time
Collection
[
|
...
]