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      Natasha Rothwell Used to Be Paid in Beer

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      Voting is underway for the 74th Primetime Emmys, and this week we’re talking to several acting nominees. The awards will be presented on Sept. 12 on NBC.Natasha Rothwell used to be paid in beer at the Upright Citizens Brigade.During three-minute skits, she would impersonate an agitated therapist or a heckling dog watcher in the brigade’s blacked-out, basement theater in Manhattan’s Chelsea district. It was a raucous, feet-first entry to performing — and provided plenty to drink — for early career comedians looking for a glimmer of recognition or even Hollywood stardom.Now a decade later, instead of booze, she has received an Emmy nomination for her supporting role as an overworked and underappreciated spa manager in the HBO series “The White Lotus.”Rothwell’s first Emmy nod for acting is a pivotal moment for someone who had her beginnings on the New York improv stage and has since transitioned into directorial and acting roles with Netflix and HBO. To her, the nomination validates the hard work she has done to help give a voice to people of color who are often expected to keep hidden in the background.In “The White Lotus,” Rothwell, 41, plays Belinda, who works in the titular resort’s wellness center tending an endless parade of entitled guests, among them Tanya (Jennifer Coolidge), who has traveled to Hawaii to scatter her mother’s ashes. To Tanya, Belinda is a miracle-worker, and she offers to fund a wellness business of Belinda’s own. But by the time Belinda creates a business plan, Tanya’s interest has wilted, and in the final episode she hushes Belinda with a wad of cash.“These characters aren’t glaringly problematic,” she said. “I mean for people of color our lenses are tuned and we know that it’s clearly problematic. But it’s not your MAGA-hat wearing Karen walking through, throwing privilege around.”“It’s the nuance of the privilege” as it was portrayed, she added, “that really provoked people.”The quiet storm churning in Belinda, Rothwell said, reflects the experience of service industry professionals who feel powerless in their position. (Rothwell herself took family photos at JCPenney and worked the drive-through window at McDonald’s before landing the big gigs.) She credits the writer and director Mike White for imbuing her character with tenderness and depth without making Belinda’s struggle the focal point.“She just wasn’t a prop in other people’s story; she had a drive and a desire,” Rothwell said. “He really highlighted the real experience of Black people in customer service where we can’t say what we think when we think it. We don’t have that luxury.”At U.C.B., Rothwell poured her heart into every character she played, something her manager, Edna Cowan, recognized immediately. In their first meeting, at Cowan’s apartment, Rothwell expressed her desire to break into the entertainment industry, which began their partnership of more than a decade.“I feel like I have matches in one hand and dry sticks in the other,” Rothwell recalled having said to Cowan. “And I just need someone to help me make fire.”More on the 74th Emmy AwardsThe 2022 edition of the Emmys, which celebrate excellence in television, will take place on Sept. 12 in Los Angeles.‘The White Lotus’: Natasha Rothwell’s nomination for her portrayal of an underappreciated spa manager is a pivotal moment for the actress, whose career began on the improv stage.‘Pam & Tommy’: After her Emmy-nominated role in the Hulu mini-series, Lily James has a new appreciation for the many complications of being Pamela Anderson.‘Severance’: Christopher Walken and John Turturro, both nominated for best supporting actor in a drama, drew upon their years of friendship in the techno-thriller.‘Dopesick’: Kaitlyn Dever is up for her first Emmy for her role as a young woman with an opioid addiction in the mini-series. She sought to approach the role with the utmost sensitivity.Cowan was among the first people Rothwell called after the Emmy nomination. Rothwell peeled from her bedsheets around 9:30 a.m., lurched for her phone — as she normally does — and watched as celebratory alerts overwhelmed her screen. She had made a calendar reminder on her phone to congratulate Coolidge, who was heavily favored for a nomination, but she had not anticipated receiving one of her own.She thought she was still dreaming.“I had to catch my breath,” Rothwell said. “It was pretty special.”As Rothwell wiped tears from her eyes, the two shrieked from excitement, scaring Rothwell’s salt-and-pepper goldendoodle, Lloyd Dobler, a reference to John Cusack’s character in “Say Anything.” Rothwell reminded Cowan of the analogy she had made in their first conversation.“We made fire, we made fire,” Rothwell recalled saying.Cowan, in a recent video interview, put it this way: “I think it’s the culmination of many years of consistently good work.”Natasha Rothwell, left, with Jennifer Coolidge; both received Emmy nominations for their roles in “The White Lotus.”Mario Perez/HBOBorn in Wichita, Kan., Rothwell grew up as an Air Force brat, living in bases around the world, from Florida to Turkey. (She attended two elementary schools, two middle schools and two high schools.) She was thankful for being exposed to a variety of cultures, she said, but not all of her memories were good — such as being called the N-word for the first time, at her high school in Fort Walton Beach, Fla.“We’re not in Kansas anymore,” she remembered thinking. “Literally.”Such experiences motivated her to better understand human behavior. She joined an improv troupe at her second high school, in Maryland, which helped liberate her from obsessive, intrusive thoughts, and went on to study theater at University of Maryland. Her dream was to become a Broadway actor, and she felt discouraged after graduation when she kept landing mostly comedy roles.On the advice of one of her former professors, she decided to embrace her talent for comedy.“I’m so grateful that I stopped trying to resist my natural sort of inclination and was able to apply my dramatic skill set to comedy, which I think makes it hit harder,” she said.After “Saturday Night Live” was criticized in 2013 for not having a Black female cast member, the artistic director at U.C.B. informed Rothwell of special auditions; “S.N.L.” hired her as a writer in 2014 but she left after a single season, feeling undervalued.But things picked up quickly after that. In 2016, she was featured in the short-lived but critically admired Netflix comedy series “The Characters,” and later that year she began a full-series run as the protective and fiercely loyal friend Kelli Prenny in HBO’s “Insecure.” (She was also a supervising producer and writer of “Insecure,” sharing its Emmy nomination for best comedy in 2020, and directed an episode of the final season, her directorial debut.)As she helped develop her “Insecure” character, Rothwell asked herself: What would it be like to be in the world and not once doubt your worth or your value? She hoped Kelli’s unapologetic truth would allow Black, plus-sized viewers to feel seen, she said. Kelli was a character she had needed to see herself.“When I would walk through the airport of Philly, when I would be visiting my family, they’d be like, ‘Yes, Kelli, I see you!’ and it was just this love for her that made me protective of her,” she said.Although the role wasn’t official, she kept on her writer’s cap during the production of “White Lotus,” too. She remembered pulling White aside at one point and saying, “You know, we don’t talk the way we talk around y’all,” referring to the different ways people speak at work compared with in their personal lives.White was receptive to working the idea into the show, she said. In Episode 3, viewers see Belinda relax as she talks to her son about Tanya’s wellness center proposal, capturing one of the character’s few relieving moments.Given Rothwell’s reputation in comedy, people are often surprised, she said, when she takes on more serious roles. But she has tried not to let herself become limited to one genre, inspired, she said, by the versatility of performers like Robin Williams and Lily Tomlin. And she is still motivated by her early love for drama.“The comedy I write and am drawn to produce, direct and consume has both levity and gravity,” she said. “They necessitate each other.” More

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      Himesh Patel on the Pandemic, Fatherhood and ‘Station Eleven’

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      Voting is underway for the 74th Primetime Emmys, and this week we’re talking to several acting nominees. The awards will be presented on Sept. 12 on NBC.“I’m a little bit of a nerd,” Himesh Patel warned.That was on a recent Tuesday evening, on a video call from a red-walled room in his London home. Dressed in a black Adidas T-shirt, with a pair of white stripes snaking down each shoulder, he looked less like a nerd than someone ready to take the field.That is, until he began breaking down strategies for hay and brick trade deals in the board game “Settlers of Catan.”“You’re all sort of trying to trick each other into trading the wrong thing,” said Patel, 31, in a British accent that would be shocking to anyone who had seen only his performance in the post-apocalyptic HBO Max drama “Station Eleven.” The role earned him his first Emmy nomination, for best lead actor in a limited series. His Chicago accent was flawless.Hay and brick trades … Sounds … riveting?“I know,” he said. “It sounds lame, but it’s really fun and there’s lots of strategy involved.”Patel played a different kind of settler on the HBO Max series “Station Eleven,” based on the book by Emily St. John Mandel, which follows the survivors of a devastating pandemic in their efforts to rebuild society — with art and community more than bricks and hay. When Patel’s character, a freelance writer named Jeevan, decides to take in an orphaned young actress, Kirsten (Matilda Lawler), he must also navigate the challenges of becoming a de facto parent.Like Jeevan, Patel was an understated presence on the show, and his nomination — the show’s sole acting nod among the seven it earned overall, including for writing, direction and score — came as a surprise to many, himself included. (He found out on a train ride to visit his parents in London).“I like it that way,” said Patel, who, like Jeevan speaks softly and slowly, weighing every word. “I’m not very good at being on the red carpet.”Patel grew up in Cambridgeshire in eastern England, the child of Indian parents who were both born in Africa. (“I was a child of two worlds,” said Patel, who grew up speaking Gujarati.) He characterized his cultural upbringing as a cross between Bollywood films and fantasy blockbusters like “Star Wars” and “Lord of the Rings.” (If he had not become an actor, he said, he likely would have been a computer modeler.)After spending his teenage years doing plays with a local youth theater, he got his first big break when he was cast in “EastEnders,” the long-running British soap opera, when he was 16. He dropped out of school, then spent nine years playing the role of Tamwar Masood from 2007 to 2016.More on the 74th Emmy AwardsThe 2022 edition of the Emmys, which celebrate excellence in television, will take place on Sept. 12 at the Microsoft Theater in Los Angeles.‘The White Lotus’: Natasha Rothwell’s nomination for her portrayal of an underappreciated spa manager on the show is a pivotal moment for the actress, whose career began on the improv stage.‘Severance’: Christopher Walken and John Turturro, both nominated for best supporting actor in a drama, drew upon their years of friendship in the Apple TV+ techno-thriller.‘Dopesick’: Kaitlyn Dever is up for her first Emmy for her role as a young woman with an opioid addiction in the mini-series. As she prepared for the part, she sought to approach the role with the utmost sensitivity.Although “EastEnders” made him a star across the pond, American audiences began to notice him more when he landed the lead role in Danny Boyle’s 2019 musical romantic comedy “Yesterday,” in which he plays a struggling musician who suddenly becomes one of the few people in the world who remember the Beatles. Then he scored a role as the fixer Mahir in “Tenet” (2020), Christopher Nolan’s time-bending spy thriller.Even more recognize him now because of “Station Eleven” and his most recent film role: Playing the journalist love interest of Kate Dibiasky (Jennifer Lawrence) in Adam McKay’s star-studded 2021 disaster comedy “Don’t Look Up.”“If I’d told my 11-year-old self that, I think he would’ve been like, ‘Shut up, stop taking the piss out of me,’” he said, laughing.“Station Eleven” episodes did not begin airing until late last year, but Patel began work on the series in 2019, when the cast filmed the last shots of Episode 1, in which Jeevan and Kirsten leave the apartment and walk through the snow toward the lake, in Toronto, standing in for Lake Michigan, in Chicago. Then the pandemic sent them into lockdown. (They passed the time by playing board games over Zoom, with “Settlers of Catan” featuring heavily in the rotation.)“We didn’t change the story to try to make it feel more relevant,” Patel said. “But you could feel the influence of the pandemic creeping in.”Himesh Patel with Matilda Lawler in a scene from “Station Eleven.” Patel plays a freelance journalist who takes in an orphaned young girl as a pandemic rages.Parrish Lewis/HBO MaxThe show’s creator, Patrick Somerville, based the screen version of Jeevan on the character in Mandel’s novel, though he said he tailored the character to Patel’s acting style.“He has a stillness about him that was vital to the show actually working,” Somerville said in a video interview from outside the Shedd Aquarium in Chicago, as Lake Michigan waves lapped in the background.“I’m the loudmouth of the group,” he added. But with Patel, he said, he learned that “one line — or no line — could carry the weight emotionally of a scene.”One particular scene in Episode 9, which wasn’t in the book, resonated deeply with Patel: A scene in a makeshift birth center, in which Jeevan becomes a birthing partner to a handful of women. The episode was filmed less than three months after Patel had watched his own wife give birth to their daughter.“I was in the early months of being a father and not knowing the ins and outs of how to do it when we shot that,” he said. “It was so easily accessible because I was going through it.”Lawler, who plays young Kirsten, said she saw a change in Patel after his daughter was born. “He had more of a fatherly presence” in their relationship, she said. (She had advice for him, too, she said: Learn how to braid hair, stat.)In a video interview from sleepaway camp in the Pocono Mountains in Pennsylvania, Lawler, who, as in the series, comes across as much older than her 13 years, said the bond between her and Patel was immediate and effortless — a chemistry that was reflected onscreen.“It’s a strange bond — we just naturally understood each other,” she said.She offered some other insights on Patel: He’s a great dancer. He’s fantastic at Ping-Pong. He’s “taller than I thought” and “absolutely not intimidating as a person.”“It’s disarming how inclusive he is,” she said. “He always made everyone feel really comfortable.”He is also, she confirmed, “kind of nerdy.”Hiro Murai, who was nominated for two directing Emmys this year — for the pilot of “Station Eleven” and for an episode of “Atlanta” — said he and Patel had a number of conversations about how to balance Jeevan’s emotional intimacy and the comedy, particularly in Jeevan’s relationship with Kirsten.“There’s something very funny about a guy who’s kind of a stunted adolescent trying to take care of this little girl who’s much older than him in spirit,” he said. “The humanity was the most important part, and the comedy had to come out of the character rather than leaning into situational jokes.”In the future, Patel, who recently wrapped shooting in Southport, N.C., on “Providence,” an indie murder-mystery comedy in which he stars alongside Lily James and Joseph Gordon-Levitt, would like to do more producing and potentially writing work, he said; one idea is for a series about the lives of the more than one million Indian soldiers who fought for the British Empire during World War I.“Those were a tumultuous few years in Britain in terms of identity and people understanding their cultural history,” he said, “There are lots of stories to help fill in.“What excites me,” he added, “is the opportunity to have so many brown actors in front of and behind the camera.” More

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      Lily James Experiences Beaches a Little Differently Now

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      Voting is underway for the 74th Primetime Emmys, and this week we’re talking to several acting nominees. The awards will be presented on Sept. 12 on NBC.Actors usually talk about the thrill of digging into a role, how excited they are when they crack the code. Lily James does evoke those emotions when asked about channeling Pamela Anderson in the Hulu mini-series “Pam & Tommy,” but there is always a slight shadow.She was scared, she said — and she got a little obsessive. She spent her hours in the makeup chair listening to collections of Anderson interviews and excerpts from shows like “Stacked,” “V.I.P.” and, of course, “Baywatch.”“I was so fricking terrified that I wasn’t going to pull it off,” James, who is British, said in a recent video conversation. (Her accent was one of many transformations she had to undertake for the role.) “I haven’t ever worked harder, just because it needed that.”She did pull it off: Her performance earned both wide praise — The New York Times’s James Poniewozik described it as “sneakily complex” when the show premiered, in February — and James’s first Emmy nomination. (“Pam & Tommy” got 10 nods overall, including one for best limited series.)During a recent video chat, the co-showrunners D.V. DeVincentis and Robert Siegel confirmed James was all in, all the time.“There was no hanging out or gossiping by the food, nothing like that,” DeVincentis, also a writer and executive producer on the show, describing her ethic on set. “If she wasn’t shooting she was always sitting listening to interviews with Pamela Anderson to keep the voice in her head.”“Also just being lovely and cheerful and approachable,” Siegel, who is also the creator, added quickly — lest anybody think James had gone to antisocial, diva-like extremes. “She had so many opportunities where she could have snapped or lost her temper, and it would have been completely forgivable and justified. She never really did.”James, 33, could not have been more cordial when we talked, even though she had to carve out time from her last moments of rest in Tuscany — where she was staying before moving on to Rome to start work on a film by Saverio Costanzo, the Italian director behind the Elena Ferrante adaptation “My Brilliant Friend” on HBO.She had the talking-with-her hands thing nailed already, and she looked relaxed and easygoing, with an excellent of sense of how to still look great on Zoom. She projected an endearing mix of low-key confidence and lighthearted self-deprecation, which included an overly severe assessment of her own interview skills.“I feel I’m really bad talking about work,” she said. “I always remind myself, ‘I’m an actor, so it’s fine, I don’t have to be good at this bit.’”Anderson is yet another step up for James, whose three-season stint as Lady Rose MacClare on “Downton Abbey” lifted her into increasingly high-profile roles — including the younger version of Meryl Streep’s Donna Sheridan in “Mamma Mia! Here We Go Again” and Ansel Elgort’s girlfriend in Edgar Wright’s stylish, bubble gum action movie “Baby Driver.”It wasn’t the first time she had played a historical person, though Churchill’s wartime secretary, Elizabeth Layton, who died in 2007, was in no position to nitpick the way James portrayed her in the period drama “Darkest Hour,” from 2017. Both title characters in “Pam & Tommy,” on the other hand, are very much alive.Lily James, left and Sebastian Stan as Pamela Anderson and Tommy Lee, whose stolen and leaked sex tape become a tabloid phenomenon in the 1990s. Erin Simkin/HuluOne of the few moments of hesitation during our conversation came when I asked whether she had ever met Anderson — who was not involved in the series and let it be known afterward that she had not checked it out.“Still nothing,” James said, “and I totally respect that. That’s her choice. It’s a bizarre thing because I’ve played her, and I feel so attached but …” She drifted off. “I hope that if she was ever to watch it, she would feel that the show was just so behind her.”To break away from it all, James enjoys being in nature, away from people and cities. “When you see the perspective of the ocean and the horizon in front of you, you’re like, ‘Oh, this is all OK,’” she said.But asked whether she was still able to chill on beaches — or whether they now triggered visions involving rescue cans and slow-motion running — she flashed back to shooting a big “Baywatch” scene in “Pam & Tommy.”“That one is going to go down in my life as one of the craziest days,” she said, shaking her head. “There were paparazzi wading into the sea, taking pictures of me — and I’m someone that never likes to be photographed in my bikini, let alone in Pamela Anderson’s red bathing suit.”That suit is now an integral part of the 1990s cultural landscape. And if “Pam & Tommy” has achieved one thing, it’s to make us reconsider Anderson’s role in it, particularly the early part of her marriage to the Mötley Crüe drummer Tommy Lee (Sebastian Stan, who was also nominated for an Emmy), when the couple’s sex tape was stolen and found its way on the marketplace.Lee came out of the scandal fairly unscathed — rockers gonna rock — but Anderson was relentlessly mocked and vilified. “The show is about looking at our culpability as a human being, our lack of empathy,” James said. “The responsibility of how the show would be received weighed heavily on me, so I really couldn’t let it go, and I didn’t film for a long time afterwards.”“I didn’t feel able to,” she added. “I found myself still speaking in an American accent.”You can’t let yourself disappear in someone else’s life and psyche — and physical appearance — the way James did without being affected. “Pam & Tommy” may have felt like a bit of a lark on paper, but it led to some soul-searching.“It’s made me want to keep going and shoot for really challenging roles,” James said, adding, “I felt like I needed some sort of change in my career and this was it, a sort of crossroads.” More

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      Mary Alice, Tony Winner for Her Role in ‘Fences,’ Dies at 85

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      A former Chicago schoolteacher, she appeared on TV in ‘A Different World’ and ‘I’ll Fly Away,’ winning an Emmy in 1993.Mary Alice, an Emmy- and Tony-award winning actress who brought a delicate grace and a quiet dignity to her roles in Hollywood blockbusters (“The Matrix Revolutions”), television sitcoms (“A Different World”) and Broadway plays (“Fences”), died on Wednesday in her home in Manhattan. She was 85, according to the New York City Police Department.The death was confirmed by Detective Anthony Passaro, a police spokesman, who said officers responded to a 911 call and found Ms. Alice unresponsive.A former Chicago schoolteacher, Ms. Alice appeared in nearly 60 television shows and films. In 2000, she was inducted into the Theater Hall of Fame.She first gained widespread attention in the Broadway production of August Wilson’s “Fences” in 1987. She earned a Tony Award for best featured actress for playing Rose Maxson, a housewife in 1950s Pittsburgh forced to balance duty with anger toward a philandering husband (played by James Earl Jones, who also won a Tony), who is filled with rage after a promising career as a baseball player devolved into a grueling life as a garbage hauler.“Ms. Alice’s performance emphasizes strength over self-pity, open anger over festering bitterness,” Frank Rich wrote in a review for The New York Times. “The actress finds the spiritual quotient in the acceptance that accompanies Rose’s love for a scarred, profoundly complicated man.”The role had deep resonance for Ms. Alice, who based her performance on memories of her mother, her aunts and her grandmother, women “who were not educated, living in a time before women’s liberation, and their identities were tied up in their husbands,” she said in an interview with The Times that same year.“I decided very early that I did not want — well, not so much that I did not want to get married, but that I did want to find out about the world,” she added. “I did that through college, through learning, through books and travel.”Ms. Alice, left, with Ray Aranha, center, and James Earl Jones in “Fences.” Ron ScherlMary Alice Smith was born on Dec. 3, 1936, in Indianola, Miss., one of three children of Sam Smith and Ozelar (Jurnakin) Smith. When she was a small child, the family moved to Chicago, where they lived in a house on the Near North Side that was later demolished to make way for the Cabrini-Green housing project.No immediate family members survive.Viewing teaching as a path to a stable, middle-class life, she graduated from Chicago Teachers College (now Chicago State University) in 1965 and took a job teaching at a public elementary school.Even so, she aspired to be an actress. “It was escapism,” she told The Chicago Tribune in 1986, adding: “We never lacked for anything. But my parents got up before the sun rose and worked all day. My father was tired. My mother had to cook. When I went to the movies, those people on the screen didn’t have to work.”Dropping the surname “Smith” and moving to New York City in 1967, Ms. Alice trained at the Negro Ensemble Company, landing in an advanced acting class taught by Lloyd Richards, the artistic director of the Yale Repertory Theater who went on to direct “Fences.” Ms. Alice, left, and Beatrice Winde in “Sparkle,” a 1976 film loosely based on the singing group the Supremes.Everett CollectionThroughout the 1970s and the early ’80s, she made numerous appearances in sitcoms like “Good Times” and “Sanford and Son,” while carving out a film presence in “Sparkle,” a 1976 musical loosely based on The Supremes, and “Beat Street,” the 1984 break-dancing film that helped nudge hip-hop culture into the mainstream.She earned praise onstage in a 1980 Off Broadway production of “Zooman and the Sign,” featuring Frances Foster and Giancarlo Esposito, as well as a 1983 Yale Rep production of “Raisin in the Sun,” featuring Delroy Lindo.After her success with “Fences,” she played Lettie Bostic, a resident director at a historically Black college who has an intriguing past, in “A Different World,” a spinoff of “The Cosby Show.” A year after that, she drew praise as the mother of Oprah Winfrey’s matriarch character in “The Women of Brewster Place,” a television mini-series based on the Gloria Naylor novel about a group of women living in a run-down housing project.By the 1990s, she had become a familiar face in film. She had roles in Charles Burnett’s “To Sleep With Anger” featuring Danny Glover, and in Penny Marshall’s “Awakenings” featuring Robin Williams and Robert De Niro, in 1990; and in Spike Lee’s “Malcolm X,” with Denzel Washington in the title role, two years later.She also appeared in “The Bonfire of the Vanities” as the mother of a teenager struck by a car in a hit-and-run accident.Ms. Alice, right, and Jasmine Guy in a 1988 episode of the NBC sitcom “A Different World.” NBCU Photo Bank/GettyIn 1992, she was nominated for an Emmy award for outstanding supporting actress in a drama series for her role in “I’ll Fly Away,” a series starring Sam Waterston and Regina Taylor and set in a fictional Southern town in the 1950s; she won the award for the same role the following year.Ms. Alice nearly took home another Tony in 1995. She was nominated for best actress for her performance as the fiery Bessie, one of two centenarian sisters looking back on a century of life, in “Having Our Say,” Emily Mann’s Broadway adaptation of the best-selling 1994 memoir by Sarah (Sadie) L. Delany and her sister Annie Elizabeth (Bessie) Delany, written with Amy Hill Hearth.Ms. Alice replaced Gloria Foster as the Oracle in the third installment of the Matrix film series in 2003, and continued acting until 2005, when she appeared in a television reboot of the 1970s detective show “Kojak.”“Acting has been a big sacrifice,” she told The Tribune in 1986. “I sometimes think that if I had continued to be a teacher, I would be retired already. The income would have been constant. But I didn’t feel about teaching the way I do about acting. It’s my service in life. I’m supposed to use it.” More

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      Adam Scott on His First Emmy Nomination for ‘Severance’

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      Scott earned first Emmy nomination on Tuesday, for best actor in drama for “Severance.”To stay afloat and avoid disappointment, Adam Scott said he doesn’t anticipate big nominations. It’s a healthier state of mind, he said, and he’s become accustomed to not hearing his name called.“I did not think I was going to be nominated,” he said. “I was just trying to focus on everyone else and take a walk and put it out of my head.”After learning he received an Emmy nomination for best actor in the Apple TV+ drama “Severance,” Scott said it was an honor to be named next to actors like Brian Cox, nominated for “Succession,” and Jason Bateman, nominated for “Ozark.”“Severance,” which is also nominated for best drama, presents an eerie picture of workplace culture in which employees of an enigmatic, vaguely sinister corporation named Lumon Industries undergo a surgical procedure that severs their work memories from their personal memories, in an effort to keep company secrets confidential. Scott plays Mark Scout, who after losing his wife, Gemma (played by Dichen Lachman), in a car accident, substitutes monotonous shifts pocketing numbers into digital boxes at Lumon for proper healing.In a phone interview on Tuesday, Scott discussed the show’s cliffhanger ending and how he used a personal loss to build his character. These are edited excerpts from that conversation.Where were you when you first heard of the nomination?I was in the middle of walking the dogs when I got the phone call and was surprised and just couldn’t be more flattered and honored. It was really a unique feeling, to say the least.Why do you think the show was so successful?It’s a good question because when we were making it, we, if not daily, very often would stop and look at each other and just be like, “This is really [expletive] weird. Is anyone going to connect with it?” We didn’t know, and then we would just kind of shrug our shoulders and put our heads down and keep going.What were the most challenging scenes for you to film?I was going through a grieving process, because my mom had died before I went out to New York. I walked into that apartment and realized I wasn’t done grieving at all, because my family kind of cushioned me from this at home. And that’s what love is for in a lot of ways, is to help you through a process like that, and we were locked down in Los Angeles so I was able to kind of make it through. But then I got to New York six months later, closed the door and I was by myself and I realized immediately I was not done absorbing this loss. The show was right there, and so I processed my grief through the show.What does “Severance” hope to teach about how to cope with grief?For outtie Mark, that’s what the season was about: grief, and how is he going to handle it? And is he going to handle it? Or is he going to continue pushing it away? And I was asking myself the same question. So, I decided to deal with it, but deal with it along with Mark.There’s a scene where I’m on the side of the road where my wife had a car accident in the show, and we just happened to shoot that scene on the one-year anniversary of my mom passing away. It was just a sheer coincidence. But I was kind of carrying it around with me all day and trying not to kind of zero in on it. It really, again, helped me with my grieving process.What does the show aim to tell viewers about how to manage what happens at work and what happens at home, particularly amid a pandemic when many people have had to work remotely?Work is something that you do to achieve one thing or another. A job is a place where you go, if you can define it like that, and I think people started re-evaluating their relationship with those things. I think we all found out that home and your life, and your life at work, they all started to blend into sort of one thing.How did the cast and the director Ben Stiller compose the last moments of the season finale?The moment where I call Mrs. Selvig “Ms. Cobel” accidentally — while we were shooting, I remember saying to Patricia [Arquette] and Ben, “OK if we have them, if they care at this point in the final episode, if we’ve laid the bread crumbs properly, this moment is going to be so fun and so huge.”But that’s a delicate process, getting to the point where that actually has impact. It’s not easy to put it all together so that actually happens. It could just as easily be a shrug if you’re not invested in the characters or the story or whatever. So, hearing that people threw things at their television or got up and walked out of the room or just screamed at the end of Episode 9 is delightful. We really had no idea if anyone would care. More

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      Sydney Sweeney Scores Two Emmy Nods, for ‘Euphoria’ and ‘The White Lotus’

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      Sweeney discussed her first two Emmy nominations as well as some of the controversy surrounding her “Euphoria” character, Cassie.Sydney Sweeney was leaving a fitting when she found out she was nominated for two Emmys Tuesday. Speechless, the first person she called was her mother.“There weren’t many words,” Sweeney said. “It was more of crying and saying how proud she was.”The 24-year-old actress earned nominations for two HBO shows: “The White Lotus,” for supporting actress in a limited series, and “Euphoria,” for supporting actress in a drama. She attributes her success in the shows to creating elaborate books for each character that include their individual back stories and emotional memories.“I’m able to just jump into who they are, and I know how they will react to something because of what has happened in their past,” she said. “I’m able to flesh out these fully vivid characters because I’ve given them life through the work that I put into it.”As Cassie in Season 2 of “Euphoria,” her character sacrifices her friendship with Maddy (played by Alexa Demie), and employs intensive beauty routines and country-music inspired wardrobes to win over Nate (Jacob Elordi), Maddy’s ex-boyfriend. (Zendaya, who plays the troubled Rue, was nominated again for best actress in a drama.)Sweeney’s character Olivia on “The White Lotus” had it easier, vacationing with her friend Paula (Brittany O’Grady), and passing scathing judgments at a luxury resort. The limited series racked up 20 nominations, including five just in the best supporting actress category.In a phone interview, Sweeney discussed the thrill of her first Emmy nominations and what she hopes viewers will gain from Cassie’s transformative arc. These are edited excerpts from that conversation.How did you feel when you heard that you received two nominations?I was definitely in shock, because I was not expecting to get nominated, especially not for two awards. I appreciate the characters that I get to play, so the fact that people have been touched by my character — that’s what means so much to me. It’s an amazing feeling, and I’m very appreciative.Cassie underwent a significant transformation in “Euphoria” last season, going from a sympathetic character to a more questionable one as she complicates her friendship with Maddy by falling for Nate. What was that metamorphosis like for you?It was a fun challenge. I was also very nervous, because I know that Maddy’s character is such a force and people love her. You don’t want to cross Maddy, and Cassie crossed Maddy. So I was a little nervous to see how people would react.Olivia, in “The White Lotus,” was a much more comic role. Was that challenging?I was a little scared because I’ve never done something on the more comedic side, and I was going to be surrounded by such comedic geniuses. But whenever I’m scared, that means I’m going to be challenged. I’m going to try and push myself even further. So I was really excited to be surrounded by these people.Some viewers complained that “Euphoria” hypersexualized Cassie last season. What did you make of that criticism, and what do you hope people take away from the character?I hope people can look deeper inside of Cassie and see the struggles and the trauma that she has gone through, and why she is who she is. Because there’s a reason behind all of it. Does she want to put herself out there all the time? No. She does it because that’s what she thinks other people want from her, and that’s the only way that she’s going to be able to get what she wants from people.I think that shows how women feel and how they’re treated today. I hope that it raises awareness for others, and they’re more aware of how we’re being perceived, how young girls are being raised. And there’s a double side, because I also think there’s strength behind how she feels when she is naked or she’s showing her body. She communicates that way and there’s a beauty, there’s a strength and there’s a sadness with all of it. I hope people can see that. More

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      Jennifer Coolidge Wanted Out of ‘The White Lotus.’ Now She’s Emmy Nominated.

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      “It’s really an incredible surprise,” said Coolidge, who on Tuesday received the first Emmy nomination of her long career for the series.Jennifer Coolidge was beloved by comedy fans even before her breakout performance in the HBO series “The White Lotus.” A scene-stealer in hits like “American Pie” and “Best in Show,” her skills as a character actress — full-body commitment, inimitable comic timing — have sustained her through nearly three decades in film and television. But no role has been as juicy or complex as Tanya, the wealthy and bereaved resort guest she plays on “Lotus.” The ensemble limited series, created by Mike White, tied with “Ted Lasso” for the second-most nominations this year after “Succession,” another HBO show. Seven of Coolidge’s co-stars, including Connie Britton, Natasha Rothwell, Alexandra Daddario and Murray Bartlett, were also nominated.In a phone interview, Coolidge discussed why she initially tried to get out of “The White Lotus,” filming the show’s second season in Italy, and what she wants to do next. These are edited excerpts from the conversation.This is your first Emmy nomination. How does it feel?It feels great! I thought I’d already lost. Someone told me that if you’re nominated someone calls you at 5:30 or 6 a.m. So, by 7 a.m., when it didn’t happen, I was like “OK. Oh well,” and sort of let it go. Then when I got a call from my publicist saying it had happened, I was so confused. But it’s even more thrilling. It’s really an incredible surprise.You got your start on television, playing one of Jerry’s girlfriends on “Seinfeld” in the ’90s. Are you thinking about what this means in the longer arc of your career?You know, I’ve never been part of the awards seasons or anything, so you just sort of get used to that. I just thought, “Wow, that’s not my future.” In a million years, I didn’t think this would happen. I just can’t believe it. Really seriously can’t believe it.What did you make of the role of Tanya when Mike first pitched it to you?I certainly didn’t think it was going to lead to this. You know it was a huge risk for Mike to give me this big part. I’m sure he had to jump through hoops to get me approved, and that they were thinking of some more famous actresses. But he gave me this shot, and I’m thrilled because it could’ve gone a different way. I was sort of nervous about it and I tried to get out of it. I truly did. I was nervous about vain things, like not looking right and not being able to deliver somehow. I just didn’t want to fail, and I didn’t want to be the only one in the cast who didn’t pull through. But it’s a great life lesson: When you want to try to get out of something, maybe it’s the best thing you could be involved in.When you were in that phase of feeling like you wanted to get out of the role, what made you change your mind?It was this friend of mine, Chase Winton. I was in her living room and she asked me, “Are you going to go do that show in Hawaii?” I said “No, I’m not. I’m not in good shape. I look like hell.” I was eating pizzas and things through Covid, and I wasn’t … I just said, “I’ll do it another time.” And she just gave me this lecture. “Are you kidding me, Jennifer? Do you know what an idiot you’re being in this moment? I have to talk you out of making a terrible mistake.” If it hadn’t been for her, I wouldn’t have done it. I was going to tell Mike that I needed foot surgery or something, some silly excuse. But I’m so glad she talked me into it. Even if it didn’t lead to an Emmy situation, just to go do that job was such a positive thing.What was it about your friend’s lecture that broke through to you?She said, “Just own it, Jennifer, whatever you are. You’re out of shape? You’re not prepared? Just own it. Show up anyway.”Did the character feel different from roles you’ve played in the past?There are other people in my life who have given me some cool roles. But this was really on a different level because Mike knows me really well. He knew that I lost my mother in my early 30s and that it was a big deal, so he wrote this very cool part that was tailor-made for me. There’s no one cooler than Mike White. He loves actors, and he loves writing them great stuff.Have you spoken with him yet?No, he’s in Italy. I’m sure he’s getting lots of messages. But Reggie, you’re my first call.I’m honored. Can you tell me anything about the next season of “White Lotus”?I just did five months on it in Sicily. I got back like two weeks ago. I’ve been instructed that I’m not allowed to leak anything, but I have to say, from what I’ve witnessed, watching what some of the new actors are doing, people will not be disappointed. It’s a very elaborate story Mike is telling, and it was just incredible to be a part of.What do you want to do next?I would love to do a serious play. There’s some original stuff that I’ve heard might be coming my way, but it’s not confirmed yet. I’m just excited because things like this open the door for cool stuff. It’s harder to make things happen when you don’t have a lot happening. And then the minute you have a lot happening, the seas part. So who knows? The sky’s the limit. You get used to thinking in a certain way, and then something like “White Lotus” happens and you start to have bigger thoughts.After me, who’s the first person you want to celebrate with?As you and I were talking one minute ago, I got a FaceTime from Mike White. So I will be excited to call him back. More

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      Amanda Seyfried on Her Emmy Nomination for ‘The Dropout’

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      The actress received her first Emmy nomination for bringing nuance to her portrayal in “The Dropout” of the disgraced Theranos founder, Elizabeth Holmes.Even in a television season rife with grifters, poseurs and con artists, Amanda Seyfried was very good at being bad. In the Hulu mini-series “The Dropout,” she starred as Elizabeth Holmes, the disgraced founder and former chief executive of Theranos, a once-hot health technology start-up that promised an easy method for testing blood with a single finger prick.Seyfried, a star of films like “Mank,” “Mamma Mia!” and “Mean Girls,” managed to fashion a surprisingly sympathetic portrait of Holmes, at least at the outset: She begins the series as an ambitious college student with dreams of becoming the next Steve Jobs, and we follow her on her journey as she becomes ever more ruthlessly determined to realize her all-consuming goal.When her downfall arrives, a viewer might almost — almost — feel sorry for Seyfried’s Holmes as her company collapses and she cuts herself off from former friends and colleagues. (A real-life jury, however, did not; Holmes was convicted in January on four counts of criminal fraud.)On Tuesday, Seyfried received an Emmy nomination as a lead actress in a limited or anthology series or movie, the first Emmy nod of her career. She spoke by phone from the set of “The Crowded Room,” an Apple TV+ anthology series in which she will star with Tom Holland, to talk about “The Dropout,” Holmes, bad dancing and primal screams. These are edited excerpts from that conversation.This was an almost eight-hour-long story that took several months to produce. How does it feel to receive an Emmy nomination for it?I’ve been making movies since I was 17, and this was different. I almost want to say, it’s different because it was seen. A lot of times, you do things and they don’t get seen, but it doesn’t take away from the experience of making it. With this, I was getting to explore a character in a way that I haven’t before. It’s a pretty insane true story, and it was pretty well-written. I’m glad it turned out the way it did and that people like it.Were you surprised by how sympathetic your Elizabeth was, at least in the pages of “The Dropout,” when compared with what events might have suggested?I wasn’t surprised at all. There’s no point in making this show if you’re not going to try to understand this person. In order to understand somebody, you need to have empathy. It doesn’t matter who it is. Everybody’s human. Everybody’s got layers.Few of us have been in such high-stakes situations, but Elizabeth’s desperation to keep papering over one failure after another, and the escalation of that, felt palpable.During shooting, the way I was able to justify the doubling-down that she did was that she really believed that she was sacrificing in order to actually find the answer. And, quote-unquote, save the world. People are willing to overlook many, many things for the sake of the bigger picture.On a lighter note, at least, you got some opportunities to do some really bad dancing. Is that a form of acting in itself?Well, no. Picture anybody alone in front of a mirror. And then start dancing. The intimacy of being alone and the possibility of what you’re not seeing — everybody’s a 13-year-old, trying on clothes. We can all relate to that. That dancing was a direct line into Elizabeth Holmes’s identity, and it was a genius way of getting into her.The final episode has an indelible moment in which Elizabeth is outside with her dog and lets out a primal scream. You must have had to shoot several takes of that — was it grueling to do over and over?Ugh. Uh-huh. There was even the question of, do we need her to scream? Is it more like an implosion? What would that desperation look like? It was so much pressure, and I tried the scream, and the dog cowered, so we took the dog out. It was not kind to the animal. So that was pretty much the only take where you see the dog, right off the bat — the animal caregivers came over, and I said, I get it. I didn’t know what I was going to do.You can’t really explain to the dog what you’re doing.“Oh, no, we’re just acting, man. Everything’s cool.” I also get really nervous about losing my voice because I’m a singer. I was always in touch with my voice coach for anything, especially the deeper speaking. The scream, I was just like, I don’t think I can do anymore.Since finishing the show, do you feel tempted to use The Voice in real-life situations?To me, it’s an accent. For a long time, I refused to do it. And then after the trial, a couple months later, one of the doormen at the building where I’m staying, they’re like, can you do the voice? And I did it. And I was like, Hmm, it feels good. It’s done me well. More