Interview with Chi McBride

TV Interview!

"How We Roll" cast on CBS

Interview with actors from “How We Roll” on CBS by Suzanne 3/23/22

This was a nice CBS press day – my first with them. I was very happy to be included, even though I was only able to ask one question.

This seems like a fun sitcom, so I’ll definitely be checking it out when it airs tomorrow.

CBS SPRING 2022 VIRTUAL PRESS DAY
“How We Roll” with actors Pete Holmes, Katie Lowes, Chi McBride, Julie White and Mark Gross, Executive Producer
Virtual via Zoom
March 23, 2022
© 2022 CBS Broadcasting Inc. All Rights Reserved.
“How We Roll” premieres Thursday, March 31st, at 9:30 p.m. Eastern on CBS, and streaming on Paramount Plus.

The show is based on the life of real-life Midwestern dad, Tom Smallwood, who decided to pursue his dream of becoming a pro bowler after he was laid off from his job

There was a video from Brian d’Arcy James, Executive Producer, who couldn’t be there. He told us about how the show came about. He heard about Smallwood because they’re both from Saginaw, MN. He fell in love with the idea of this guy deciding to follow his dream, regardless of the odds against him, in order to take care of his family. They loved and supported him, and so did his whole community. James thought this would make a great story. It’s certainly an interesting idea. I don’t think there’s every been a sitcom about bowling before. There was the comedy-drama, “Ed,” about a lawyer who returns to his hometown and buys a bowling alley…he practiced law out of it. There have been many sitcoms about working class people who go bowling regularly, such as “Laverne and Shirley” and “Roseanne.” There’s never been one that’s mostly about bowling, let alone one that is about a professional bowler. I just hope it’s funny because that’s my main criteria for a comedy. It has to make me laugh, often, or I won’t keep watching it. We’ll see!

I was really happy to be able to ask Chi McBride a question because he’s been in so many great shows I’ve watched and loved, such as “Boston Public,” “Human Target,” “House” and many more. I asked him, “You’ve done a lot of dramas over the past I don’t know, how long it’s been. A couple of decades. But you got your start in sitcom. So, what was it that attracted you to this project?”

He gave me an unexpectedly heartfelt answer. It was really nice. He confided that not only did he “love the story,” but he could relate to it. He said, “30 years ago, I left my successful career at the phone company when I was making $300 a week, against the advice of my broker.” He drove from Atlanta to California to be in show business. He mentioned that he had a lot of confidence. He probably had some money to keep him afloat for awhile, too, is my guess, since he decided he wouldn’t be a waiter or anything like that. He credits that confidence with getting into the business, which he’s worked in for 30 years. He can identify with the situation because everyone thought he was crazy, too, for taking this chance.

He talked about his character, Archie, who is a mentor to the main character, Tom (played by Pete Holmes). He told us that Archie has believed in Tom since he was a child. He really loves characters like Archie and felt that this was “a wonderful opportunity.” Also, he added that he knew all the other people in the cast and their work. He praised them for being both talented and “lovely people at the same time.” He shared that it’s “been a real gas, to tell you the truth.” Going back to my question about having done mostly drama for a long time, he did admit that he hadn’t been “in front of three camera format in 25 years” (that’s how they shoot sitcoms), so he found it “daunting” at first. He gave credit to director Mark Cendrowski for helping him figure it out and get over that bump road. He joked, “it was like riding a bike. Like, when you ride a bike into a tree at first.” He was very funny throughout his answer, and we all laughed a lot. The whole panel was pretty funny. Anyway, he concluded that he’s “just glad to be here” and that the basic story inspired him.

Producer Mark Gross talked about his part in bringing the show to life. He wanted to write something with hope in it. James told him about the Tom Smallwood story. He praised Tom’s beautiful writing about Tom and his story. It really inspired him. He spoke in detail about how he worked on it feverishly (sometimes literally, when he had COVID). He can’t believe that they got such an “incredible, amazing cast.” He thinks Tom’s story is filled with miracles.

Pete Holmes was asked to compare his other show, “Crashing,” based on his early days of trying to make it as a comedian, to this one, since they’re both about someone giving up steady work to pursue their dreams.

Pete answered that he never though of that comparison before. He confided that his parents didn’t seem too concerned about his becoming a comedian. He added, “I don’t know if that’s because they believed in me, or they just weren’t paying attention.” Everyone laughed, so he riffed on that idea for a minute. It was hilarious. Then he told us, more seriously, that his parents were always very supportive of him, and other people he knew ere, too. He believes that you should get rid of the “naysayers” in your life if you want to be successful. He also mentioned that he always saw some other comedians that were unsuccessful because they were always comparing themselves or their careers to other comedians, which he referred to as “comedy cancer.” He told us that Mark Gross and one of the other writers (Tommy Johnagin) are both great stand-up performers and writers. He talked about how he and his wife read the script when he got it, praying that it was good. They enjoyed it and laughed, and appreciated that the wife was not just the usual TV “nagging wife.” It reminds him of the series “Ted Lasso,” in the sense that the wife believes more in Tom than he does. He also thought that the other characters were not stereotypes, either. Back to the question, he said that he’s very grateful that he didn’t have people doubting him when he was starting out. He “was one of the first people to go to college” in his family, so they said that he could do whatever he wanted after that.

Another reporter asked a question, but unfortunately, the actors didn’t answer it seriously. It was a very funny time for all of us, though. He/she asked what the actors found it easiest and most difficult as far as connecting to their character. Instead, Pete joked about the other new CBS show “Beyond the Edge,” saying that “I thought the monkeys that were encroaching on our camp were really difficult.” From then on, it only got funnier. I can only hope that the real show is half as funny as these guys were in this panel.

MORE INFO:

CBS ANNOUNCES NEW COMEDY “HOW WE ROLL” TO PREMIERE THURSDAY, MARCH 31 AT 9:30 PM

How We Roll,” Formerly Titled “Smallwood,” Stars Pete Holmes, Katie Lowes,

Chi McBride, Julie White and Mason Wells, and Is Based on the Life of

Professional Bowler Tom Smallwood

CBS will premiere the new comedy HOW WE ROLL (formerly titled “Smallwood”) on Thursday, March 31 (9:30-10:00 PM, ET/PT) on the CBS Television Network, after B POSITIVE completes its second season order. The series will also be available to stream live and on demand on Paramount+*. Based on the life story of professional bowler Tom Smallwood, the series stars Pete Holmes as Tom, a stoic Midwest husband and dad who gets laid off from a car assembly line and makes the extraordinary decision to provide for his family by following his dream of becoming a professional bowler.

As a skilled player, Tom knows that in bowling you get two chances: no matter what you do with the first ball, you get another one to make it right – the ultimate second chance. Keeping that in mind, he begins his new career with the loving “OK” from his wife, Jen (Katie Lowes); the unfaltering support of Archie (Chi McBride), his mentor and the proud owner of Archie’s Lanes: Home of the Curly Fry; the cautious backing of his protective mom, Helen (Julie White); and the encouragement of his son, Sam (Mason Wells). It remains to be seen if Tom will strike it big on the pro bowler circuit, but right now, the pins are set, he’s taking his second shot, and it’s 300 or bust.

HOW WE ROLL is produced by CBS Studios. Mark Gross, David Hollander and Brian d’Arcy James are the executive producers. Mark Cendrowski directed the pilot.

*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.

Official CBS website: https://www.cbs.com/shows/how-we-roll/

BIOS

Pete Holesm on "How We Roll" on CBSPete Holmes (Tom on HOW WE ROLL)

Pete Holmes is a nationally touring standup comedian, actor, “Christ-leaning spiritual seeker,” improviser, writer, cartoonist, and late-night host. Most recently, “Comedy Sex God,” Pete’s first book, was published May 14, 2019 by Harper Wave. Part autobiography, part philosophical inquiry, and part spiritual quest, “Comedy Sex God” is a hilarious, profound, and enlightening romp around his fertile mind.

In March 2019, Pete’s semi-autobiographical HBO comedy series, “Crashing,” that he created, starred in and executive-produced alongside Judd Apatow, celebrated its third and final season. “Crashing” was critically acclaimed and followed a stand-up comic (Holmes) who reevaluates his life and enters the New York comedy scene after discovering his wife’s infidelity. Currently, Pete is the host of the wildly popular podcast, “You Made It Weird,” which is a comedic exploration of the meaning of life with guests ranging from Deepak Chopra and Elizabeth Gilbert, to Seth Rogen and Garry Shandling. With more than 660 episodes, “You Made It Weird” has been downloaded over six million times and is recognized annually as a top podcast.

Since 2011, Pete has starred in CollegeHumor’s hilarious web series, “Badman.” “Badman” parodies the Christopher Nolan Batman films, with Pete playing the Caped Crusader as oblivious and incompetent, much to the annoyance of friends and foes alike. Pete also provided the voice for the talking baby in the award-winning E*TRADE ad-campaign.

An accomplished standup, with three hour-long television specials (HBO’s “Pete Holmes: Dirty Clean,” HBO’s “Pete Holmes: Faces and Sounds,” and Comedy Central’s “Pete Holmes: Nice Try, The Devil!”) and innumerous late-night appearances, Pete also hosted his own late-night TBS talk show, “The Pete Holmes Show,” that aired for two seasons. Pete has written for several television series, including “The Simpsons” and “Outsourced,” and many of his cartoons have been published in “The New Yorker,” which he thinks is pretty neat.

Currently, Holmes lives in Los Angeles with his wife and daughter. His birthday is March 30. Follow him on Instagram and Twitter @peteholmes.

Chi McBride as "Archie" from the CBS series HOW WE ROLL, premiering Thursday, March 31 (9:30-10:00 PM, ET/PT) on the CBS Television Network, and available to stream live and on demand on the CBS app and Paramount+. Photo: Cliff Lipson/CBS ©2021 CBS Broadcasting, Inc. All Rights Reserved.Chi McBride (Archie in HOW WE ROLL)

A prolific actor in both television and film, Chi McBride most recently starred in the hit series “Hawaii Five-0” as Captain Lou Grover, on the Network.

McBride’s extensive feature credits include “I, Robot,” “The Terminal,” “Draft Day” with Kevin Costner and Jennifer Garner, “Annapolis,” “The Kid” with Bruce Willis, “Gone in Sixty Seconds” with Nick Cage, “The Distinguished Gentleman” with Eddie Murphy, and the Oscar-nominated “What’s Love Got to Do With It.”

He is also known for his principal roles in Bryan Fuller’s “Pushing Daisies” and David E. Kelley’s “Boston Public.” McBride has also lent his voice to the Marvel world playing the iconic ‘Nick Fury’ in multiple animated series, including “Avengers Assemble.”

McBride is from Chicago and currently resides in Los Angeles. His birthday is Sept. 23.

Katie Lowes as "Jen" from the CBS series HOW WE ROLL, premiering Thursday, March 31 (9:30-10:00 PM, ET/PT) on the CBS Television Network, and available to stream live and on demand on the CBS app and Paramount+. Photo: Cliff Lipson/CBS ©2021 CBS Broadcasting, Inc. All Rights Reserved.Katie Lowes (Jen on HOW WE ROLL)

Katie Lowes is a force on both stage and screen. She is perhaps best known for starring as ‘Quinn Perkins’ for the entire seven seasons of the hit series “Scandal.” Lowes starred opposite a stellar cast including Kerry Washington and Tony Goldwyn in the fan favorite series created by Shonda Rhimes.

Recently, Lowes starred in the original television movie CHRISTMAS TAKES FLIGHT, on the Network. Currently, she stars in Shonda Rhimes’s Netflix series “Inventing Anna,” alongside Anna Chlumsky, Julia Garner and Laverne Cox.

Lowes is in the fourth season of her popular parenting podcast, “Katie’s Crib,” which is produced by Shondaland in partnership with iHeartRadio. “Katie’s Crib,” which launched in Spring 2018, is a weekly podcast covering the unexpected joys, pains, foibles, and hilarity of new motherhood. Each episode highlights a specific parenting issue from a variety of different points of view. Lowes conducts frank, intimate conversation with fellow moms (such as A-List actresses Kristen Bell, America Ferrera, and more) about the ups and downs of being a new parent.

In summer 2021, Lowes lent her voice to Netflix’s animated film “Vivo.” The film also featured voices from Lin-Manuel Miranda, Zoe Saldana, Gloria Estefan, Nicole Byer and more, with Miranda writing several songs for the movie.

In fall 2018, Lowes made her Broadway debut, starring in the Tony-nominated musical “Waitress,” with Katharine McPhee. Lowes played the role of ‘Dawn’ opposite her real-life husband, actor Adam Shapiro.

Lowes is no stranger to the big or small screen. Over the years she has appeared in big budget films, such as Disney’s “Ralph Breaks the Internet” and Dreamworks’ “Transformers 2,” Bad Robot’s “Super 8” directed by JJ Abrams and was the voice of Abigail in the 2015 Academy Award-winning animated feature film “Big Hero 6.” In addition, she voiced an animated character in the 2015 Academy Award-winning animated short film, “Feast,” as well as the Oscar-nominated Disney film “Wreck It Ralph.” Lowes was the inspiration behind the motion and movement work for Idina Menzel’s character, Elsa, in the movie “Frozen.”

Additionally, she has appeared in several independent films, including “Dinner for Four,” “The Job,” “Callers” and “Bear” and “Café.” She has been a guest star on hit series, such as “The Closer,” “Grey’s Anatomy,” “Private Practice,” “Leverage,” “Castle,” “The Sopranos,” “NCIS,” on the Network, and was a series regular on “Easy Money,” created by producers of “The Sopranos.”

Lowes is regularly seen guest co-hosting “Live with Kelly and Ryan” alongside Ryan Seacrest.

Born in Queens, New York, Lowes is a graduate of NYU Tisch School of the Arts. Lowes is the co-artistic director of IAMA Theatre Company, which was named one of the top 20 regional theatres in the country. IAMA is in the midst of its 13th season in Los Angeles.

Currently, Lowes lives in Los Angeles with her husband. Her birthday is Sept. 22. Follow her on Twitter @KatieQLowes and on Instagram @ktqlowes.

Julie White as "Helen" from the CBS series HOW WE ROLL, premiering Thursday, March 31 (9:30-10:00 PM, ET/PT) on the CBS Television Network, and available to stream live and on demand on the CBS app and Paramount+. Photo: Cliff Lipson/CBS ©2021 CBS Broadcasting, Inc. All Rights Reserved.

Julie White (Helen on HOW WE ROLL)

 Julie White is a Tony Award winner for Best Performance by a Leading Actress in a Play for her role in “The Little Dog Laughed,” and starred in Joe Mantello’s 2015 production of Lisa D’Amour’s play “Airline Highway,” for which she was nominated for Tony, Drama Desk and Drama League awards.

Tony-nominated for her performance in the 2019 Taylor Mac-created “Gary: A Sequel to Titus Andronicus” on Broadway opposite Nathan Lane, White earlier starred on Broadway in Lucas Hnath’s “A Doll’s House 2” with Stephen Henderson and Jane Houdyshell, and opposite Matthew Broderick and Annaleigh Ashford in the revival of A.R. Gurney’s “Sylvia” for director Dan Sullivan.

White’s additional Broadway credits include “Vanya, Sonia, Masha and Spike,” “The Heidi Chronicles,” and Off-Broadway credits “The Understudy” and “Fiction” for The Roundabout, “Twelfth Night” at The Delacorte for The Public Theatre and “Bad Dates” for Playwrights Horizons, to name some favorites. She won an Obie Award, The Elliot Norton Award, the Ovation Award and been nominated multiple times for Outer Critics Circle, Drama Desk, and Drama League Awards.

On television, White recurred as Antoinette, “Nurse Jackie”s AA sponsor; opposite John Goodman in the Garry Trudeau/Amazon series “Alpha House”; and spent a season on “Go On” opposite Matthew Perry, for which she won the Gracie Award. Other memorable TV roles are Mitzi Dalton Huntley in Alan Ball’s “Six Feet Under,” Nadine Swoboda on “Grace Under Fire,” Dr. Anne Morella on “Law & Order: SVU” and comedy appearances on cult favorites “You’re the Worst” and “Man Seeking Woman.”

Coming up, in addition to HOW WE ROLL, White will appear in the new Apple + series “Roar” among an all-star cast, including Nicole Kidman and Cynthia Erivo, as well as the Apple+ miniseries “WeCrashed” opposite Anne Hathaway. Other television credits include White starring opposite Kiefer Sutherland and Anthony Edwards on the final season of “Designated Survivor” and appearing in the critically acclaimed limited series “Mrs. America,” with Cate Blanchett and Sarah Paulson.

On the big screen, White appeared in “Lincoln” for Steven Spielberg opposite Daniel Day Lewis and Sally Field, in addition to being a staple on the indie scene in such festival films as “Breaking Upwards,” “Hello I Must Be Going,” “Morning,” “My Idiot Brother” and “Life Partners.” Additional studio features include the massively successful “Transformers” franchise, “Michael Clayton” opposite George Clooney, “The Astronaut Farmer” with Billy Bob Thornton, and the animated film “Monsters and Aliens”.

White resides in Northern Westchester, NY, when not filming. Her birthday is June 4. Follow her on Instagram @missjuliewhite.

Mark Gross, producer/writer for "How We Roll" on CBS.

Mark Gross is a producer and writer, known for Mike & Molly (2010), Man with a Plan (2016) and Gary Unmarried (2008).

 

 

 

 

 

PETE HOLMES STARS IN THE NEW COMEDY INSPIRED BY THE LIFE OF PROFESSIONAL BOWLER TOM SMALLWOOD, WHO MAKES THE EXTRAORDINARY DECISION TO FOLLOW HIS DREAM OF BECOMING A PROFESSIONAL BOWLER, ON THE SERIES PREMIERE OF “HOW WE ROLL,” THURSDAY, MARCH 31

Katie Lowes, Chi McBride, Julie White and Mason Wells Also Star

“Pilot” – Pete Holmes stars in a new comedy inspired by the life of professional bowler Tom Smallwood, who gets laid off from his factory job and makes the extraordinary decision to follow his dream of becoming a professional bowler, on the series premiere of the CBS Original series HOW WE ROLL, Thursday, March 31 (9:30-10:00 PM, ET/PT) on the CBS Television Network, and available to stream live and on demand on Paramount+*. Katie Lowes, Chi McBride, Julie White and Mason Wells also star.

As a skilled player, Tom (Holmes) knows that in bowling you get two chances; no matter what you do with the first ball, you get another one to make it right – the ultimate second chance. Keeping that in mind, Tom begins his new career with the loving okay from his wife, Jen (Lowes); the unfaltering support of Archie (McBride), his mentor and the proud owner of Archie’s Lanes: Home of the Curly Fry; the cautious backing of his protective mom, Helen (White); and the encouragement of his son, Sam (Wells). It remains to be seen if Tom will strike it big on the Pro Bowler circuit, but right now, the pins are set, he’s taking his second shot and it’s 300 or bust!

REGULAR CAST:

Pete Holmes (Tom)
Katie Lowes (Jen)
Chi McBride (Archie)
Julie White (Helen)
Mason Wells (Sam)

RECURRING CAST:

Tahj Mowry (Lewell)
Amanda Perez (Tia)
Greg Romero Wilson (William)
Matt McCarthy (Carl)
Judy Kain (Mimi)

WRITTEN BY: Mark Gross

DIRECTED BY: Mark Cendrowski

TOM MUST CHOOSE BETWEEN LOYALTY TO ARCHIE, HIS MENTOR AND COACH, AND MONEY WHEN HE’S OFFERED A NEW SPONSORSHIP DEAL, BUT HE CAN ONLY FEATURE ONE LOGO ON HIS BOWLING SHIRT, ON “HOW WE ROLL,” THURSDAY, APRIL 7

“The Sponsor” – Tom must choose between loyalty to his mentor, Archie, and money when his first TV interview leads to a new sponsorship deal, but he can only feature one logo on his bowling shirt: Archie Lanes, Home of the Curly Fry, or Powell Mortuary. Also, Jen’s boss stifles her creativity at the salon, on the CBS Original series HOW WE ROLL, Thursday, April 7 (9:30-10:00 PM, ET/PT) on the CBS Television Network, and available to stream live and on demand on Paramount+*.

REGULAR CAST:

Pete Holmes (Tom)
Katie Lowes (Jen)
Chi McBride (Archie)
Julie White (Helen)
Mason Wells (Sam)

RECURRING CAST:

Tahj Mowry (Lewell)
Amanda Perez (Tia)
Greg Romero Wilson (William)
Matt McCarthy (Carl)
Judy Kain (Mimi)

GUEST CAST:

McKale Jude Bingham (Lee)
Kerrice Ayanna Brooks (Hannah)
Brittany Baker (TV Reporter)
Sarah Lilly (Sandy)
French Stewart (Jacob Powell)

WRITTEN BY: Michael Glouberman

DIRECTED BY: Betsy Thomas

GENRE: Comedy

TOM CONSIDERS SELLING HIS PRIZED BASEBALL CARD COLLECTION IN ORDER TO BRING IN SOME MUCH-NEEDED CASH TO TREAT JEN, WHO’S BEEN WORKING EXTRA HOURS, ON “HOW WE ROLL,” THURSDAY, APRIL 14

“The Hustle” – Looking for ways to make extra cash, Tom considers selling his prized baseball card collection so he can treat Jen, who’s been working extra hours at the salon, on the CBS Original series HOW WE ROLL, Thursday, April 14 (9:30-10:00 PM, ET/PT) on the CBS Television Network, and available to stream live and on demand on Paramount+*.

REGULAR CAST:

Pete Holmes (Tom)
Katie Lowes (Jen)
Chi McBride (Archie)
Julie White (Helen)
Mason Wells (Sam)

RECURRING CAST:

Tahj Mowry (Lewell)
Amanda Perez (Tia)
Greg Romero Wilson (William)
Matt McCarthy (Carl)
Judy Kain (Mimi)

GUEST CAST:

Greg Winter (Ben)
Sean Cook (Brad)
Laura Buckles (Brenda)

WRITTEN BY: Tommy Johnagin

DIRECTED BY: Betsy Thomas

GENRE: Comedy

Proofread and Edited by Brenda

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CBS Spring Press Day graphic

 

Interview with Bradley Constant, Uli Latukefu and Adrian Groulx

TV Interview!

Bradley Constant, Uli Latukefu and Adrian Groulx of "Young Rock" on NBC

Interview with Bradley Constant, Uli Latukefu and Adrian Groulx of “Young Rock” on NBC Thane 3/9/22

Speaking with these three young men was almost like talking to “The Rock” himself! They were a lot of fun to chat with. I especially enjoyed hearing about Uli and Bradley’s workouts.  Don’t miss the Season 2 premiere 3/15!

Jamie: Bradley, I love the dynamics between teenage Duane and Ata. Talk about what we will be exploring in their relationship this season.

Bradley: Oh yeah. That’s– I will agree with you. I love that relationship just as much. Coming back this season, I was really hoping to have more scenes that would show that special dynamic between Dwayne and his mom because me and my mom are so close and she’s always been there for me and that’s always been kind of a staple in me becoming who I am, and this season, it really opens up a lot more in my timeline, especially, Dwayne really leaned on his mom. When things were really hard, she was always there for him. When he was lost, she always found them and kind of kept them moving forward and always staying positive. And this season, there’s a lot more of that.

Jamie: Uli, Stacy mentioned that she’ll be getting to work more with you this season as well because you’re more grown and you’re exploring the older aspects of Dwayne a lot as well. And she noted that 20-year-old Dwayne also butts heads a lot with hi mom as well. And it’s hard to parent from far away, you know, you’re in Miami at this time. What did Dwayne talk about with you about their relationship as far as mother and son being so loving and so close, yet being so far away at this point in their lives?

Uli: Yeah, we didn’t actually– Dwayne and I didn’t actually hit on anything with that for this season. But I always knew from the outset, from season one, that their relationship was really really close… is really, really close. The distance thing for me… it doesn’t matter where– Dwayne could be across, you know, the other side of the world and Ata could be on the other side, you know, as they are often at times. But they’re so close, they’ll be on the phone with each other. And that’s the same thing that happens now in our show. It’s like, they’re never far from each other at all. Ata is always checking in or, [saying] “Have you done this? We’ve done this, we’ve done this. Have you received this package?” or whatnot. And I think that’s how a mum is, you know? My mum was always checking up on me, or [asking] why wasn’t I at home at particular time. Um, let’s not get into that…

(Laughter)

Uli: But that’s what moms do. We’re their babies. So with Dwayne and Ata, it’s no different,

Stephanie: So, um, Adrian, one of my favorite parts of the show is the relationship between young Dewey and Andre the Giant. Is that something we’re going to get to continue to see more of in season two?

Adrian: I definitely agree with you. That is definitely one of my favorite aspects of my character’s scenes. And we will get to see a little bit more of Andre and Dewey having some fun.

Stephanie: And, Uli, you’re up to the point where The Rock becomes The Rock. Did you have to learn how to wrestle to play The Rock as he learned how to wrestle.

I did. And we don’t actually jump straight into Dwayne becoming the rock. Obviously he had a quite a bit of a transition from when he stopped playing football. So it was almost like it was parallel with my own learning of how to wrestle. In the storyline Dwayne is learning how to get everything down pat, and so was I, as an actor. So I learned, but I loved it. I grew up playing football, uh, Rugby Union here in Australia. So the contact was– I just felt in my element and, uh, and took to it pretty quickly. So… So, uh, you know, we’ll see… we’ll see if the wrestling fans agree.

Stephanie: We always hear stories from young wrestlers about when they took their first bump. So what was that like for you?

Uli: Oh my gosh. Let’s just say a few crash mats. It was, uh, yeah, it was tough. It’s not as easy, and I will say this, you know… I think the general perception outside of wrestling fans is that it’s all make believe, but I guarantee you, the hits are real. And your body.. We ended up shooting 13-hour days. And then at the end of those 13 hours, come and rehearse wrestling. So your body feels it, and full credit to everyone who gets into the squaredd circle, as they say.

Stephanie: And, Bradley (and for everyone), you guys all got to actually work together in the Christmas episode. Is that something you’d like to do more of in other, maybe special episodes?

Bradley: Oh, are you kidding me? I would love that. There’s so many, like, fun ideas you can think of. You could do, like, a Halloween episode. I would love to do a musical episode. We can all be in something like that. That’d be pretty cool.

Uli: Yeah.

Bradley: I know that the opportunities are endless. I’d love to do it.

Uli: We pitched it, by the way.

Bradley: Yeah, we pitched it.

Uli: So Joseph Lee Anderson and I (sorry, I don’t know if we have time for this, but) were singing backstage, and just fooling around. And then, uh, Brian Goatz, who’s the producer from Seven Bucks (Production) was there, and he started recording. And then sent it to DJ. So I dunno if that’s, you know, potentially, we could have a [musical] “Young Rock.”

Bradley: And they can both sing… just about everyone on this show can actually really sing. You know what? Let’s go for it.

Stephanie: Thank you.

Moderator: Okay. Next we have Thane with The TV MegaSite.

Uli: Hey, Thane.

Bradley: What’s up?

Thane: Bradley and Uli, do you spend a lot of time working out? How much time per week?

Uli: I’ll take this one. Uh, I train maybe five days, depending, five days a week. I really enjoy staying in shape and going to the gym and working out. It helps me quite a lot. Um, so yeah, so I mix up weight training with, um, Very little cardio. So that’s what I that’s what I like to do.

(Bradley laughs at his cardio comment)

Bradley: During filming, me and my buddy, Michael, we would.. we’d go to the gym every morning at 3:00 AM. And that was the first time I’ve ever been that religious about it. Like this season, it was probably the most I’ve ever worked out in my life. I really enjoyed it. And it’s, like, it’s followed me ever since. So it’s about six, seven days a week now. I’ll take off and do… I’ll do more cardio because I like it. (Laughs)

Uli: By the way, Bradley was up at 3:00 AM every morning. This is no word of a lie. And I would see him and another cast mate (who I can’t announce) at the gym every morning, 3:30, you know, so kudos to you, bruh.

Thane: Did you have to work hard to try to act like The Rock? And did he give you any pointers?

Bradley: Uli, you can go first, man.

Uli: Uh, yeah, “Don’t be terrible.” No, he didn’t say that.

(Laughter)

Uli: Uh, he really– Dwayne’s great. He gave us a lot of freedom, and basically, the number one thing for me through our conversations was — particularly in his younger years — he was very driven. He was very focused about achieving something. He wasn’t too sure about what that was or what that looked like. But he knew he was meant for something great. And he was willing to put in the work. And I think for me, Dwayne’s advice was, “Always keep that in the back of your mind, that I’m willing to do the work and get to where I want to get to,” with the two hands that he has.

Bradley: For me, he just told me to have belief in myself, you know, and also, that I was in good hands. And I really was, like having Uli around, having all over producers around… everyone. That’s a part of the “Young Rock” technical team. You know, they’ve got our backs and, you know, leaning into that. You don’t really have to copy anything, and everybody’s got you taken care of. I’m sure, Adrian, you can agree?

Adrian: Yeah, everyone is really, really amazing on, uh, on the cast and crew. I didn’t really get to talk to Duane too much about how to play and, Uh, portray the role. So I kind of.. while I was reading the script side, I had a little fun with it. Maybe, uh, improvised a couple of things. But I didn’t really think too hard about it ’cause I just didn’t want to overthink it. So I , you know, played around with it.

 

Watch our other “Young Rock” Interviews with Stacey Leilua and Joseph Lee Anderson and Ana Tuisila and Matthew Willig

MORE INFO:

Young Rock

Tuesdays on NBC (8-8:30 p.m. ET); Season Premiere: March 15

The second season of “Young Rock” delves back into Dwayne Johnson’s life, continuing the storylines from season one while also introducing new chapters we haven’t yet seen. As Dwayne and his loving, resilient family face new challenges and meet new wild characters of professional wrestling, Dwayne contemplates embracing the grind of professional wrestling himself. The show will explore the crazy rollercoaster that has shaped Dwayne into the man he is today and the larger-than-life people he’s met along the way.

Dwayne Johnson, Joseph Lee Anderson, Stacey Leilua, Ana Tuisila, Adrian Groulx, Bradley Constant, Uli Latukefu, Fasitua Amosa, John Tui and Matthew Willig star.

Created by Nahnatchka Khan and Jeff Chiang and inspired by Dwayne Johnson’s life. Nahnatchka Khan, Jeff Chiang, Dwayne Johnson, Dany Garcia, Jennifer Carreras, Hiram Garcia, Brian Gewirtz and Jeffrey Walker serve as executive producers.

“Young Rock” is produced by Universal Television, a division of Universal Studio Group, Seven Bucks Productions and Fierce Baby Productions.

Bradley Constant

Dwayne Johnson (15 years old), “Young Rock”

YOUNG ROCK -- Season: 2 -- Pictured: Bradley Constant as Dwayne Johnson -- (Photo by: Mark Taylor/NBC)
Bradley Constant plays 15-year-old Dwayne Johnson in the new NBC comedy “Young Rock.” Alabama-born Constant began pursuing acting at 12 and convinced his mom to move him to New York City where he would study and begin to gain experience in the industry. The tough environment and fast-paced productivity of the city prepared him for an even bigger move to Los Angeles, where he is now based. Constant previously appeared in the 2018 film “Following Phil” and has had roles in several shorts before landing the part in “Young Rock.” Constant is a die-hard sports fan who also enjoys gaming, bass fishing and golfing.

 

 

 

 

Uli Latukefu

Dwayne Johnson (age 18-20), “Young Rock”

YOUNG ROCK -- Season: 2 -- Pictured: Uli Latukefu as Dwayne Johnson -- (Photo by: Mark Taylor/NBC)
Uli Latukefu plays 18-20-year-old Dwayne Johnson on the new NBC comedy “Young Rock.” Latukefu will next be seen in Taika Waititi’s feature “Next Goal Wins,” opposite Michael Fassbender and Elizabeth Moss, and was most recently seen in Kriv Stenders’ feature “Danger Close” as well as the new Foxtel drama series “The End.” He also starred in the comedy series “Sando,” the third season of the Nine Network’s “Doctor Doctor” and the drama series “Harrow.” Other screen credits include Ridley Scott’s feature “Alien: Covenant” and Netflix’s epic drama “Marco Polo.” Latukefu was previously featured in Chris Lilley’s “Jonah From Tonga” and the critically acclaimed Foxtel series “Devil’s Playground,” which was awarded the 2015 Silver Logie for Most Outstanding Telemovie and the 2015 AACTA Award for Best Telefeature or Miniseries. He made his Broadway debut in “Peter Pan” at New York’s New Victory Theatre, graduated from Australia’s prestigious National Institute of Dramatic Art (NIDA) in 2012 and was a 2016 Heath Ledger Scholarship finalist.

 

Adrian Groulx

Dwayne Johnson (age 10), “Young Rock”

YOUNG ROCK -- Season: 2 -- Pictured: Adrian Groulx as Dwayne Johnson -- (Photo by: Mark Taylor/NBC)
Adrian Groulx plays 10-year-old Dwayne Johnson on the new NBC comedy “Young Rock.” Groulx is a Toronto-based actor who will next be seen on the Apple+ series “See,” starring Jason Momoa. Previously, he was a series regular on the CBC series “The Adventures of Napkin Man” and also appeared in the Hallmark Channel movie “The Christmas Cure.” In his free time, Groulx enjoys playing sports and spending time with his family.

 

 

 

 

 

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Bradley Constant, Uli Latukefu and Adrian Groulx of "Young Rock" on NBC

Interview with Ana Tuisila and Matthew Willig

TV Interview!

Ana Tuisila and Matthew Willig of "Young Rock" on NBC

Interview with Ana Tuisila and Matthew Willig of “Young Rock” on NBC  on Lifetime by Thane 3/9/22

Willig plays family friend “André the Giant” and Tuisila plays Lia, the feisty grandma of young Dewey. It was quite a treat to speak with them. They do a great job on the show. I was especially interested to hear from Tuisila because we’re both from New Zealand! I was looking forward to asking Willig about how they got him a similar height to Andre the great, and his answer didn’t disappoint.

Question: Hi, Matthew, did you have any trepidation about playing a legend like Andre the Giant? Because you know, wrestling fans like me, we take Andre pretty seriously.

Matthew: [Laughs] You know, I didn’t…I think I was so into it right away and so excited about doing it that by the time, you know — literally as I booked the job, I was already watching videos and starting the voice process of it all. There’s no question that every now and then I will pause and say, “God, I hope to God that I am giving it some justice,” because that is so important to me.

After season one, I did have some really nice feedback, which is important. Number one, from Dwayne; and number two, from some people who either knew of Andre or knew him back in the day. So I’m not going to be perfect. I know it’s my interpretation. But yes, there’s obviously some trepidation.

It can be…there has been a few moments where I said, “God, am I even close?” You know, to this. But again, it’s my interpretation. I’m always bringing the love, trying to be honest as I can with it. And I’m hoping that’s kind of getting through.

Question: I just love the friendship between young Dewey and Andre. It’s probably my favorite thing about the show. And I’m wondering how we will see that continue to develop in season 2?

Matthew: Thank you. It’s obviously it’s my favorite part as well. And it’s something that I think, you know, people were not only shocked that there was that relationship, but number two, that it was close like that.

Yes, season two, you will see some more of Big Andre imposing his knowledge on little Dewey as he moves forward in life. The stakes are getting higher. The things that little Dewey is worrying about — girls, things like that, you know, love… Andre has some things to say and kind of, you know, as we go along, we see him sort of setting him straight. I’m looking forward to your guys seeing him, at least.

Question: Ana, we saw last season that your character was fighting to keep her wrestlers on her payroll. How will we see her handling her employees this season? And what kind of obstacles will she be facing as the promoter?

Ana: Thank you for the question. I couldn’t wait to answer your question because I’m so excited about season two, because you’re going to see more of Lia, in terms of answering that question. So just wait for season two because all will be revealed. There’s so there’s going to be more of her and her relationship with the so-called promoters in the wrestling field, and how she copes with trying to maintain her own business. So it’ll all be revealed in season two, and it’s more fun and funnier…a lot of, un-PC things will be happening. but, yeah, she gets the business rolling. And yes, it’s going to be in season two. So it’d be more about that to come. Yeah.

Question: Matthew, what kind of insight Did Dwayne offer you into his relationship with Andre when he was a kid?

Matthew: You know, it started with the fact that he called him Uncle Andre. He was literally that sort of character for him. You know, he was someone that was around that period a lot, always in and out of Hawaii. So, at that age, he didn’t see as the scary Andre. He saw the loving Andre, who he was. He used to treat him like a jungle gym, you know? So there was sort of that part of it, and Duane said right away, number one, the man embodied respect, which he learned very early on. And number two, there was a lot of love that he felt for young people and people his age. And he kind of even felt that back then, that Andre was almost like a kid himself. And I think we can appreciate the fact that someone that large and sort of that, uh, scary to a certain degree, the fact that he has that other side of him that is this loving, genuinely caring sort of individual. And so those are the kinds of things that Dwayne told me right off the bat and what has kind of led me into the character that I portrayed in the last two seasons.

Thane: Matthew, you are shorter than the real Andre. Do they give you lifts for your shoes, or (did they) just (use) camera angles to make you look taller?

Matthew: (Laughs) I’m always rooting for camera angles, but I will say that, when we first started, especially, there were lifts in my wrestling boots and also in the boots that I wore for everyday dress, which was a pain in the ass. I gotta be honest. I had a whole new appreciation for women and when they wear heels because I was basically wearing heels on set. So, yeah, so there’s that. Listen, I’m never going to be seven-foot-whatever Andre was, but I think even being 6’7/ 6’8, you know, I think we’re able to play with that and have that sort of distinction between,the normal size person and what Andre was.

Thane: Ana, what preparation did you do, if any, to play the role, since it’s based on a real person?

Ana: Very little is known about Lia Maivia, so the only preparation I had was help from, Dwayne Johnson, and his mother, Ata. So I asked for any dialogue or any tapes of…Well, they don’t call them tapes these days… Anything that could give me some idea of how she spoke. So, it was more information from Ata and Dwayne Johnson, and my own experience as a Samoan woman and mother sort of helped the role a bit because it’s very similar in terms of how strong and fearless she is. I mean, my own mother and mother-in-law are of the same ilk. So, in terms of that it wasn’t so hard. From knowing who Lia was, just feedback and information and advice from Dwayne and his mother, Ata.

Question: Ana, Lia is such a fun over-the-top character. Did you get notes from the family about how far you could take her?

Ana: Thank you. That’s a great question, but, no, I didn’t get any… limitation from the parents as how far. But from those that knew Lia, like Jeff Chiang, the writer… he grew up with knowing who Lia was. And Brian Gewirtz from Seven Bucks. They knew Lia, and they would say to me, “She was a hard case woman.” and “She had a great sense of humor and, you know, some of us were quite scared of it.” So it was all information from people who knew – and are part of the production team – who she was. So, it was just that information. And from, as I said before, Ata and Dwayne of who their mother was, and no, I just went with how it was written, from my own experience. And then, you know, from the producers and the writers (who would sometimes say, “Stop, I never got that.” So I think it’s more around experience and how the writers wanted it, and how the direction… so, and the family said, you know, they didn’t give me any, “don’t go too far because she’s–” I know from my own experiences.. (sound garbled here) But I must say she was a very un-PC woman, you know, if there’s such a word… she would just let fly. And that was wonderful. That’s the wonderful thing about her, that you can just say things, that you can wear slapping gloves and slap the wrestlers around. I love that. and it’s how she was and a lot of fun. Yeah.

Question: I love the relationship between Lia and Ata… she’s kind of overbearing, but also very loving and supportive. What kind of relationship, or at least, what kind of dialogue do they tell you about the relationship that the two of them shared?

Ana: Well, there’d be more of that in season two. There’ll be a lot of revelation around that relationship between Ata and Lia, in terms of passing on the business. And so, there are some twists and turns…but in terms of dialogue around their relationship, again, it’s about experience between mother and daughter, being a mother and a daughter of a similar age. So, I guess it’s the same with how I answered Stephanie’s question as a lot of feedback from the writers, from the production team who knew the relationship between these two. So there’s a lot of direction, a lot of advice and feedback, but also, from personal experience… and it’s also between Stacy and I, like, “Hmm, I don’t feel comfortable about that. Can we change?” So there was also some, Some vehicle for both Stacy and I to ask the writers if we could change a little bit so that it made it a bit more comfortable and a bit more real.

So there was a lot of talking behind the scenes before we filmed. So, I guess that’s what came across, which is really, really good to hear that it’s portrayed that way. And that’s how it was — a lot of work, but. you know, a lot of good personal experiences. Yes.

 

Watch our other “Young Rock” Interviews with Stacey Leilua and Joseph Lee Anderson and Bradley Constant, Uli Latukefu and Adrian Groulx

MORE INFO:

Young Rock

Tuesdays on NBC (8-8:30 p.m. ET); Season Premiere: March 15

The second season of “Young Rock” delves back into Dwayne Johnson’s life, continuing the storylines from season one while also introducing new chapters we haven’t yet seen. As Dwayne and his loving, resilient family face new challenges and meet new wild characters of professional wrestling, Dwayne contemplates embracing the grind of professional wrestling himself. The show will explore the crazy rollercoaster that has shaped Dwayne into the man he is today and the larger-than-life people he’s met along the way.

Dwayne Johnson, Joseph Lee Anderson, Stacey Leilua, Ana Tuisila, Adrian Groulx, Bradley Constant, Uli Latukefu, Fasitua Amosa, John Tui and Matthew Willig star.

Created by Nahnatchka Khan and Jeff Chiang and inspired by Dwayne Johnson’s life. Nahnatchka Khan, Jeff Chiang, Dwayne Johnson, Dany Garcia, Jennifer Carreras, Hiram Garcia, Brian Gewirtz and Jeffrey Walker serve as executive producers.

“Young Rock” is produced by Universal Television, a division of Universal Studio Group, Seven Bucks Productions and Fierce Baby Productions.

Ana Tuisila

Lia Maivia, “Young Rock”

YOUNG ROCK -- Season: 2 -- Pictured: Ana Tuisila as Lia Maivia -- (Photo by: Mark Taylor/NBC)
Ana Tuisila stars as Lia Maivia on NBC’s new comedy “Young Rock.” Tuisila’s career spans over two decades in film, television and theater. Her most memorable performance is in “The Songmaker’s Chair,” a stage production written by esteemed international author, poet and playwright Albert Wendt, and directed by Nathaniel Lees and Nancy Brunning. Following a successful season, the show later participated in the International Arts Festival at Te Papa Museum in New Zealand. Tuisila has starred in two short films on location in Samoa, Vai and Liliu, which have both been recognized throughout film festivals globally. She speaks fluent Samoan as well as having familiarity with other Pacific languages.
YOUNG ROCK -- Season: 2 -- Pictured: (l-r) Matthew Willig as Andre The Giant, Adrian Groulx as Dwayne Johnson -- (Photo by: Mark Taylor/NBC)Matthew Joseph Willig (born January 21, 1969) is an American actor and former American football offensive tackle in the National Football League.

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Ana Tuisila and Matthew Willig of "Young Rock" on NBC

Interview with Stacey Leilua and Joseph Lee Anderson

TV Interview!

Stacey Leilua and Joseph Lee Anderson of "Young Roung" on NBC

Interview with Stacey Leilua and Joseph Lee Anderson of “Young Rock” on NBC by Thane 3/9/22

It was wonderful to talk to these two actors. They clearly have a great time playing young Dewey’s parents.

 

The transcript will be up soon. Enjoy the video!

Watch our other “Young Rock” Interviews with Ana Tuisila and Matthew Willig and Bradley Constant, Uli Latukefu and Adrian Groulx

MORE INFO:

Young Rock

Tuesdays on NBC (8-8:30 p.m. ET); Season Premiere: March 15

The second season of “Young Rock” delves back into Dwayne Johnson’s life, continuing the storylines from season one while also introducing new chapters we haven’t yet seen. As Dwayne and his loving, resilient family face new challenges and meet new wild characters of professional wrestling, Dwayne contemplates embracing the grind of professional wrestling himself. The show will explore the crazy rollercoaster that has shaped Dwayne into the man he is today and the larger-than-life people he’s met along the way.

Dwayne Johnson, Joseph Lee Anderson, Stacey Leilua, Ana Tuisila, Adrian Groulx, Bradley Constant, Uli Latukefu, Fasitua Amosa, John Tui and Matthew Willig star.

Created by Nahnatchka Khan and Jeff Chiang and inspired by Dwayne Johnson’s life. Nahnatchka Khan, Jeff Chiang, Dwayne Johnson, Dany Garcia, Jennifer Carreras, Hiram Garcia, Brian Gewirtz and Jeffrey Walker serve as executive producers.

“Young Rock” is produced by Universal Television, a division of Universal Studio Group, Seven Bucks Productions and Fierce Baby Productions.

Joseph Lee Anderson

Rocky Johnson, “Young Rock”

YOUNG ROCK -- Season: 2 -- Pictured: Joseph Lee Anderson as Rocky Johnson -- (Photo by: Mark Taylor/NBC)
Joseph Lee Anderson plays Rocky Johnson in the NBC comedy series “Young Rock.” Anderson has appeared in the Oscar-nominated film “Harriet,” recurred on “S.W.A.T.” and has guest starred on “Timeless,” “American Soul” and others. He also directed and starred in the critically acclaimed short film “The Jog,” which premiered at South By Southwest. A

 

 

 

 

 

 

 

 

 

Stacey Leilua

Ata Johnson, “Young Rock”

YOUNG ROCK -- Season: 2 -- Pictured: Stacey Leilua as Ata Johnson -- (Photo by: Mark Taylor/NBC)
Stacey Leilua plays Ata Johnson on the new NBC comedy “Young Rock.” Leilua is of Samoan, Maori and English heritage and based in New Zealand. She graduated from one of New Zealand’s leading drama schools: UNITEC School of Performing & Screen Arts, where she majored in acting. Leilua has worked on a variety of productions, including New Zealand’s longest-running series, Shortland Street.” Other credits of note are the UK/NZ feature film ”Love Birds” and the highly acclaimed web series “The Factory,” which she also co-executive produced alongside Kila Kokonut Krew under the mentorship of Robin Scholes, one of New Zealand’s most well-known producers. Leilua has also worked as a presenter (“Homai Te Paki Paki”) and director with the South Auckland-based theatre company Kila Kokonut Krew. Most recently she performed in Tusiata Avia’s ”Wild Dogs Under My Skirt,” which won Production of the Year at the 2018 Wellington Theatre Awards. The production was picked up for a season at the Soho Playhouse in New York in January 2020 where it played to full houses every night.

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Stacey Leilua and Joseph Lee Anderson of "Young Roung" on NBC

Interview with Mike Cabellon and Bobby Moynihan

TV Interview!

Mike Cabellon and Bobby Moynihan of "Mr. Mayor" on NBC

Interview with Mike Cabellon and Bobby Moynihan of “Mr. Mayor” on NBC by Suzanne 3/8/22

These NBC panels are always fun. We had 3 interviews with the top 6 cast members of this funny show. You may know Moynihan from “Saturday NIght Live.”  These guys are both really funny, as you’ll see in the video. It was just great fun to chat with them. It was like having our own personal SNL comedians to perform for us.

 

Enjoy the video! Here’s the transcript:

Ross: Hi guys, I’m Ross Crystal from Showbiz Express, and thank you for taking time out to do this. Really appreciate it. Let me start with Bobby. Describe — as we move into the new season — describe your character and how it changes because you’re the Comms guy.

Bobby: I’m the comms director, that is correct. Jayden grows up a little bit this season. He’s got to make some hard decisions; no more living in Mom’s basement. He gets his own apartment. He starts to become a little more independent, and he’s got to do his job, and he’s got to make some real decisions at work, and we see how that affects him and how insane it makes him. [Chuckles]

Ross: I’ll keep to the one and come back, If I may, do a follow-up.

Suzanne Hi, my name is Suzanne, and I run TVMEG.COM. Let’s see… Mike, if you had to do Tommy’s job in real life, could you do it well?

Mike: Oh, God. No, not in the slightest. [Laughs] The Strategist, as I found in my research before season one, I found is primarily a campaign role, and you kinda just go from campaign to campaign. So in that sense, I was like, oh, yeah, it’s kind of like acting, or going from gig to gig. But then when you look at the actual job of, like, trying to advise a politician on what to do next…? I’m the most indecisive person in the world. If I sit at a diner.. you know how, like, a diner is like a menu, it’s like a book? I’m like, I’ll be there for an hour before I can decide. So I would be absolute trash at this job. [Everyone laughs]

Suzanne: All right. And, Bobby, how are you and Jayden the same, and how are you different?

Bobby: Just clothes. Just clothing choices. [Laughs] No, I think we are similar in some ways and very different in many others. There’s an innocence to both of us that I wish I didn’t have as much as Jayden does. Jayden, dollar-heart, nickel-brain on Jayden. But I think Jayden’s a little smarter than he thinks he is. For me in real life, the jury’s still out. We’ll see.

Suzanne: Thank you.

Karen: Hi, I’m Karen Moul from Scifivision.com. We have some new characters in the office this year with the I team showing up, and I was hoping you guys could talk a little bit about how that affects the dynamic in the office and your characters, I guess, without spoiling too much. And maybe Mike could speak first for a sec?

Mike: Sure. this is sort of, I think, one of the big character arcs for Tommy this season… In season one, I feel like Tommy is not expressly antagonistic or whatever in the office, but he thinks he’s better than everyone. So as soon as the I Team is introduced, he sort of sides with everyone else because now they’re like new outsiders to hate on, and I think that it’s this really interesting dynamic because, like, all the interoffice dynamics that exist in season one kind of shift, in light of these new people coming in. And that’s been such an exciting dynamic play this season because, it’s all new and it feels fresh from last season.

Karen: Thank you.

Bobby: Yeah. Towards the end of the season we get — I don’t want to spoil anything — but we get some, some awesome, really wonderful new characters, like, wonderful television characters. I can’t spoil anything, but it gets better and better.

Mike: Yeah.

Karen: Great. Thank you.

Dano: Hi, Dano from The Nocturnal. So, sitcoms are kind of built off chemistry, but your characters have this sort of, anti- chemistry. You’re at loggerheads with one another, and I was wondering, now that you’re on season two, how that, you know, off-screen chemistry between you two and comedic, you know, rapport between you, how does that change in this new season?

Bobby: I always feel like Tommy is my older brother, even though he’s younger than me. We’ll show, like, Jayden — and I feel like there’s a lot, like, they get closer, but also, like, brothers…We have a “Succession” relationship this season, and I can’t wait for people to see it. It’s so much fun!

Mike: No matter how close we get, we’re never more than a step away from like giving each other a noogie, you know what I mean?

Dano: Is that in real life, too? Or just with the characters?

Mike: In real life, it’s constant noogies. That’s how we greet each other in the morning in the makeup trailer. It’s like, “Hey, I know you have to do his hair, but one second… let me just mess it up a little.”

Bobby: He’s a bully. Mike bullies me constantly. No, I love Mike. It’s the best. I think we’re two sweet gentlemen who plays two sweet gentlemen, also, who don’t get along, but they try to. Jayden’s a lot. I don’t know if I would get along with Jayden. [Laughter]

Ross: Mike, if I can ask you… well, actually both of you, but Mike, you’ve got a background in sketch comedy. How does sketch comedy really aid you, or in some ways, perhaps not, in this show?

Mike: First of all, thank you for acknowledging that I am the foremost authority on sketch comedy on this cast.

Bobby: [Laughs]

Mike: I will say one thing that sketch comedy prepares you to do is get off-book really quickly because you’re getting rewrites and scripts day of, and the amount of material that Tina Fey and Robert Carlock churn through is… you could make a whole ‘nother show just with, like, the reject pile that they write. And so frequently, we’ll get these new sides. And, I’m grateful that I have years of experience of just like looking at a page and going, “Okay, got it” and being able to go in, and fully inhabit a character like on the spot without thinking too deeply about it, which, you know, is why I’ll never win an academy award like Holly Hunter, because she really gets deep into character, and I’m very shallow, very surface level there. But I think that that is, like a hard skill that I think is underrated for a lot of actors.

Ross: And Bobby, I mean, for you, how much does SNL come into play here? How much does that experience there come in here? How much latitude do you have?

Bobby: It’s a similar experience in the sense of, I think, Tina and Robert are people who went through the SNL machine and, two of the best, easily, to do it. And I think that they have now created a couple different universes in television, a couple of different TV shows where it’s their thing, and this is how they do it. And it’s very SNL-inspired, which means everyone is expected to be great and do great. And they do. But it doesn’t have the complete terror and anxiety that SNL does. And we get to go home and sleep at normal hours because Ted Danson’s contract is great. [Chuckles] Tt’s wonderful. It’s the best. I’m very familiar with that world of, like, “let’s create this wonderful thing and do it with all these very, very talented people.” And they’ve amassed an insanely talented crew and cast and makes it very easy and fun.

Dano: Does anything change or evolve with that — your collaborative relationship with the Tina Fey over the years?

Bobby: Yeah, I’m less terrified. In the beginning, I mean… I think she’s the most influential person that ever walked through those doors at SNL. She’s brilliant, and she has created so much from it, and I was in awe of her. My first episode of SNL was the first time she did Sarah Palin, and it was my first time doing the show, and I just stopped everything to watch her do it, and was just, like, “Look at this! Look at her and Amy!” It was nuts. But now… I text her now. I’ve gotten to the point where I feel comfortable texting her and not like a child when I do that. [Laughs]

Suzanne: For both of you– do you get to do any kind of improvisation or ad-libbing, or is only what’s on the page?

Mike: We do get to improvise a lot. I think, regardless of the show, Bobby and I probably would, anyway, because we can’t help ourselves. But the funny thing is, maybe 2% of the ad-libs make it into the final cut because Tina and Robert make such perfect scripts right off the bat that they don’t need improvement. They don’t need to be supplemented or augmented by whatever stupid thoughts we’re having on the day. But we do get to play around a lot. Usually we’ll do a few takes as scripted, and then we’ll do a couple of… we play around, and then the editor just throws it right in the garbage.

Bobby: All these improvs are few and far between, but they are assassin precise and he often gets them in.

Suzanne: Wow.

Bobby: I would say, he’s the most successful.

Suzanne: Well, I hope they show up in the DVD as extras or something. That would be cool.

Mike: I hope we get DVDs. That physical object would be great.

Suzanne: Thank you.

Karen: One of the great things about the show, is the way it takes on some very real political issues in LA. In the first five episodes, there seems to be a little bit of a through line with the very real homeless issue. I wonder if you could maybe just tease or preview for our readers, some of the topics, both serious and absurd that the show might take on this season.

Bobby: I think this season is about the mayor trying to do his job better and really trying to make a difference… And what he thinks that is best for LA and kind of the rest of the people dealing with that, and deciding if those choices are the right choices, or if he’s doing it to be, you know, for himself, or is he doing it really for the city? I think that’s a lot… what this season is about.

Mike: I think our writers do a really good job of not trying to make any statements about how the world should be run in real life. Although, this season, Jayden does have one idea that sort of unifies LA with the rest of the world; but it is a good idea, but I don’t think our writers are ever, you know, prescriptive of thinking they could do a better job in politics. I think we’re kind of towing the line of, okay, this show takes place in the political realm, but we’re not here to say that we’re experts on the matter, in any sense.

Bobby: Although I would love president Tina Fey. I think I would take that.

Mike: Heh, heh.

Ross: And then doing your research, do you ever take a trip down to City Hhall?

Mike: We did, in season one, before we shot the pilot, a few of us went down to City Hall and got the real pins that we wear on our lapels in the show, which is cool. I don’t think we go back too frequently, though.

Bobby: I’m there now. I’m there every day. [Laughter]

Ross: Do you find the humor right there?

Mike: There is a certain kind of humor that you can observe just by walking around the halls. We sat in on, like, a public hearing, and I think that that is well-worn territory, thanks to “Parks and Rec,” so I don’t know how much of that we’ll be doing… but there are given characters in any great American city, and Los Angeles certainly has, some of the bigger characters I’ve ever seen.

Suzanne: Do you ever get any feedback from people in LA about how your show handles Los Angeles and the people in it?

Mike: Yeah, actually, yeah. I’ve heard from a lot of people who either worked in LA City Hall or other local politics and are pleasantly surprised at how… it’s funny because they say that we nailed the minutiae of being in an office really well. And I think that speaks to the universality of, like, it doesn’t matter what industry we’re in, because we’re not aiming to specifically try and be like, “This is what it’s like to work in City Hall.” It’s more, just an office comedy. I think that’s what makes every office comedy sort of relatable.

Bobby: No one brings it up to me cause I haven’t– I don’t leave the house. [Laughter]

Mike: “Notorious recluse Bobby Moynihan.”

Check out our other “Mr. Mayor” interviews with Ted Danson and Holly Hunter and  Vella Lovell and Kyla Kenedy

MORE INFO:

Trailer

Mr. Mayor PosterSeason Premiere: March 15

“Mr. Mayor” follows a retired businessman (Ted Danson) who runs for mayor of Los Angeles to prove he’s “still got it.” Once he wins, he has to figure out what he stands for, gain the respect of his biggest critic (Holly Hunter) and connect with his teenage daughter, all while trying to get anything right for America’s second weirdest city.
The series stars Ted Danson, Holly Hunter, Vella Lovell, Mike Cabellon, Kyla Kenedy and Bobby Moynihan.
“Mr. Mayor” is produced by Universal Television, a division of Universal Studio Group, Little Stranger, Bevel Gears and 3 Arts Entertainment. Robert Carlock, Tina Fey, Jeff Richmond and David Miner will executive produce. Eric Gurian will serve as a co-executive producer.

Mike Cabellon

Tommy Tomás, “Mr. Mayor”

MR. MAYOR -- Season: 2 -- Pictured: Mike Cabellon as Tommy Tomas -- (Photo by: Robert Trachtenberg/NBC)

Mike Cabellon stars as Chief Strategist Tommy Tomás on NBC’s new comedy “Mr. Mayor.”

Mike Cabellon is a Los Angeles-based Filipino-American actor (“Orange Is the New Black,” “Crashing”) and writer (Comedy Central). He was trained at UCB and is currently an active performer, director, producer and head writer for Webby Award-winning “Story Pirates” podcast.

Cabellon and his sketch team GEIL have created countless sketches and two acclaimed web series: “Early to Rise” (2020) and “Night Crew” (2018). “Early to Rise” won the Audience Award at the 2020 SeriesFest. “Night Crew” premiered on Comedy Central’s digital channels after becoming an official selection for the New York Television Festival, where they landed a development deal with Comedy Central. Together, GEIL has appeared on FunnyOrDie and Adult Swim, as well as screened sketches at Quickie Fest and Red Hot Video Fun Time.

Cabellon’s time in New York included five straight seasons with the BoogieManja sketch program, putting up a new sketch show every single month at the PIT Theater, as well as five straight years of hosting a bar quiz every week with Geeks Who Drink.

He has performed on stages all over the country, including the Del Close Marathon, Comedy Hack Day, Austin Sketch Fest, Frigid Fest (part of the U.S. Association of Fringe Festivals), UCB’s 3×3 Tournament, NYC Improv Festival, SHRTWV Short Theater Festival, Penn Station Area Sketch Fest and a paid corporate improv show on the Las Vegas strip when he was 16. Notable live shows include “Mike Cabellon Is: The Bachelor – LIVE!” a small role in “Hockey Cops,” and hosting “Witching Hour” featuring Jo Firestone and Aparna Nancherla.

His last name rhymes with babylon, grab a swan, crab ’n’ prawn, slab of flan, drab chiffon or lab/salon.

Cabellon is a member of SAG-AFTRA and is represented by Authentic Talent & Literary Management, CAA, and Frankfurt Kurnit.

Bobby Moynihan

Jayden Kwapis, “Mr. Mayor”

MR. MAYOR -- Season: 2 -- Pictured: Bobby Moynihan as Jayden Kwapis -- (Photo by: Robert Trachtenberg/NBC)

Bobby Moynihan stars as Jayden Kwapis in the NBC comedy “Mr. Mayor.”

Moynihan was a cast member on “Saturday Night Live” for nine seasons where he originated beloved characters such as Drunk Uncle and co-wrote and appeared in the popular David S. Pumpkins sketch starring Tom Hanks, which spawned a Halloween animated special for NBC  and is now streaming on Hulu.

Moynihan’s other television credits include “Unbreakable Kimmy Schmidt,” “Documentary Now!,” “Drunk History,” “The Simpsons,” “Miracle Workers,” “Girls,” “Portlandia” and “Me, Myself & I.” His voiceover credits range from Cartoon Network’s “We Bare Bears,” “DuckTales” and “Stars Wars Resistance,” both for DisneyXD.

On the film side, Moynihan’s voice talents can be heard on Pixar’s “Inside Out” and “Monsters University,” as well as other features.

His all-improvised podcast on Stitcher, “Celebrity Sighting! with Jonathan Biting!” features Moynihan as the always candid and always hammered Jonathan Biting talking to guests about their celebrity encounters.

 

 

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Mr. Mayor - Season 2 Cast

Interview with Vella Lovell and Kyle Kenedy

TV Interview!

Kyla Kenedy and Vella Lovell of "Mr. Mayor" on NBC

Interview with Kyla Kenedy and Vella Lovell of “Mr. Mayor” on NBC by Suzanne 3/8/22

This was a fun panel day that we had with the 6 main actors from the show. These two women were paired together. We had a lot of fun, as you can see in the video. It was great to ask them about the show, which is very funny and returns 3/15 on NBC.

 

Kyla: Hello! How is everyone?

Ross: Doing well And thank you. Thank you for joining us and doing this. And, let me begin with Kyla, you’ve got an interesting role, and first step out, you’re at the DMV.

Kyla: Right.

Ross: First of all, was that the real DMV, a phony DMV? What’d you guys do there?

Kyla: It was actually an old police station, but it felt just like a real DMV. I had just gotten my license pretty close to where we shot that, and I felt like I was going back in time a little bit. I mean, down to the lines you, ’cause you know, you do so much waiting around on set that I truly, around hour five, was like, “I am in a real DMV right now.”

Ross: And for both of you, what is new for you this season? Different direction, different way you were approaching the role? Vella?

Vella: Well, my character gets a love interest this season. So that was a totally new dynamic, to get to work with someone new, Yedoye Travis, who’s amazing, and to kind of see that different side of your character. You know, you audition for these shows, and you have two scenes, and you can’t possibly get to every color of a character in that audition. So it’s really fun to, you know, two years in, discover new colors. And how does Mikayla fall in love, and how does Mikayla ask someone out? And all of those different things.

Vella: Yeah, I think this season Orly gets to spend a lot more time in the office with her dad, which was just really fun – a side of her that we really didn’t dive into that much in season one. And she kind of gets to interact with everyone else in the office more, which leads to some pretty fun storylines and some interesting situations. But that, that was so much funding to do this season.

Ross: Very cool.

Suzanne: Vella, you got to sing a lot in “Crazy Ex-Girlfriend.” Will there be any singing on the show this season?

Vella: Well, unfortunately, I think we established that Mikayla is a terrible singer. So…I actually think there is a little bit of singing. I’m not sure if they’ve cut it or not, but it’s not great. I’m going to go ahead and say that,

Kyla: We got blessed a little [laughs].

Vella: Yeah. It’s not, it’s off very off key. So apologies…

Suzanne: I liked the Christmas song that you all did, even though most of you weren’t doing anything but humming or whatever.

Kyla: Yeah, it was hard.

Vella: Yeah. That was fun.

Dano: Dano from The Nocturnal. So I’m a Los Angeles native myself, and a lot of stuff with the show really hits very close to home. So I was wondering what (for both of you)– Kyla, you have the relationship with the very embarrassing father and, Vella, you’re a young professional navigating life in LA… if there’s any moments where like, you’re reading the script and you’re like, “Oh man, this is just way too real.”

Kyla: Yeah, I think that happens all the time. Like, our writing is so, so good that I think there’s a little bit of truth behind every joke, which is what makes the show so special and fun to watch. But, no, I definitely have so many moments, even when we’re filming a scene where I’m like, “This could absolutely happen tomorrow in a Whole Foods.”

Vella: Yeah, I think there was one script that ended up getting… this part, got cut, but McKayla was in a long distance relationship with someone who lived in Venice. And that is a real thing in LA, when you live on the east side and someone lives on the west side, it truly feels long distance. So there’s a lot of things that just creep up and are very… they’re very… they’re so real that they’re hilarious.

Karen: I was going to ask a similar question. There are ways in which the show feels a little bit like “Seinfeld” did about New York city. That if, you know… if you’re from New York, there was this extra layer of humor there. I actually really wanted to ask Kyla, however, in particular, you are the one…maybe you are the youngest, and Orly spends a lot of time, like, schooling her father. “You can’t say that, you can’t do that. That’s not how you use Tik Tok.” And I wonder how much of that you’re drawing from your real life? And I, you know, Ted’s the same age as this character, right? And you’re working with a lot of older people, and is this happening on set?

Kyla: I mean, a little bit. I do think there have been moments, like, Ted and I did a fun little video where I told him like, slang that me and my peers were using, and he would try and guess the meaning of it. But there are definitely so many funny moments, but we’ll do a table reading, and Ted would kind of fidget, [and say], “So, what does this mean exactly?” But I think that, you know, that’s the fun of it, and that’s what makes the show so special because it is like real life. There are times when my mom will call me and go, “What does this mean? Somebody just texted me this and I have no idea how I’m supposed to respond.” But yeah, no, there’s definitely a lot of truth behind it.

Vella: I mean, I have to ask Kyla how she knows what to post on Tik ToK. ‘Cause I don’t, and how to work it, or how you know what to post. And she’s just…

Kyla: Right? I know, we like, just kind of.. right when the season ended, all started talking about potentially next season, maybe making a (???) video together, figuring it out myself if I’m being honest.

Vella: You’re gonna have to spearhead that.

Kyla: Yeah, right? I go in with a lot of false confidence and that’s really how I get through it.

Ross: On camera, you guys have become a very reverent family, and listening to you right now, you’ve got those qualities. Was there a bonding that came very quickly? Did it take awhile, Vella? What was that like for the cast – and Kyla, too – what was that like for you guys?

Vella: Yeah. I mean, we had only shot, I think, a month or two when we got shut down for COVID. So a lot of our bonding, I think, came during COVID in that time. We would just zoom a lot, and check in on each other, and we have our text chain, and I think we kind of skipped a few steps in terms of working together for months and slowly getting to know each other.
We just went straight to “How are you doing? Are you okay? What’s going on? How’s your family?”

Kyla: I think most of the time when you start a new series, you know, you’re kind of interacting with everyone in between breaks on set. And then when you rehearse, you’re doing your lines and whatnot, and then you all go home for the day. So with us being in zoom within the first month, you guys knew what my bedroom looked like, my cat, my family situation… I think we all just kind of had nothing but time. So it was like a hundred lunch breaks, all put into, like, how many months? So we did definitely come back to it, filming, like we were going into season five of our show – relationship-wise, just because we bonded so much.

Suzanne: Kyla, you were on CSI about 10 years ago when Ted Danson was starring in it. Did you have scenes with him then? And did he remember you when you started this show?

Kyla: Okay. So I did do CSI, but to preface it, I was a corpse.

(Laughter)

Kyla: So Ted and I did have a scene, but it was me lying in a bed, no longer living. So it wasn’t anything too memorable, but I think it was one of those things where we had talked about it, he kind of remembered…? Yes, no, but I was like eight and I didn’t say anything. I just kind of got to go to craft services, eat a lot of food and sleep for 20 minutes. It was a pretty sweet deal. But I think, I think I definitely do probably remember it a little bit more.

Vella: I did not know that.

Suzanne: So, bow that they’ve brought the show back, Vella, that’s your chance. You’ve got to go play a dead body on the new CSI.

Kyla: Yeah, everybody’s doing it.

Vella: I would love to. It sounds — it sounds very relaxing.

Suzanne: You can’t move, though. That’s the only thing.

Dano: One of my favorite Super Bowl commercials last month was the NBC one with Ted Danson. I was wondering if you guys, you know, how you reacted to that, if you’re roasted a bit for that, or… yeah. What were your thoughts on that?

Vella: I think I just texted, like, “Ted!” or something… It was the one where he’s the king of NBC, right?

Dano: Right, And then every other NBC person’s getting annoyed, you know, that Ted, or Keenan, “why not me?” You know?

Vella: Well, it’s the 40th anniversary of “Cheers,” so, I mean, it’s hard to (???)

Kyla: Right, he earned it.

Vella: He earned it. 40 years on a network. I mean, that’s… that’s pretty impressive. I don’t think we roasted him at all. Maybe we should!

Kyla: We can designate somebody to come through.

Vella: “Hey, man…”

Karen: I wanted to ask you guys: I think all of us have seen the first five episodes and, we’ve seen some really fun guest stars on, mostly with Ted. Do you guys get any like good guest star time this year? Do you want to tease anything about who you got to work with, or are you not allowed to say?

Vella: I don’t know. I know there’s some great people that come through. I don’t think, oh, there’s an amazing person that we got to work with, but yeah. I don’t know if we’re supposed to, I don’t know if we can talk about them, I guess.

Host: Not at this point, but excited for you guys to see all the many surprises coming up for this season.

Vella: Yeah. There’s some really great people– some really great comedy people.

Kyla: I guess we think, everyone, because of who’s behind the show. I feel really lucky. I’ve noticed everyone that comes in – even if they have one line – they are so on point, and are so amazing and really do the best job that they possibly can, which I think makes every scene so special. So I do always look forward to, you know, when we read the script to seeing who’s going to come in and who’s gonna play this crazy role. But we have, we have a lot of funny, funny characters that pop in this season for sure.

Vella: Yeah, definitely.

Check out our other “Mr. Mayor” interviews with Ted Danson and Holly Hunter and Mike Cabellon and Bobby Moynihan

MORE INFO:

Trailer

Mr. Mayor PosterSeason Premiere: March 15

“Mr. Mayor” follows a retired businessman (Ted Danson) who runs for mayor of Los Angeles to prove he’s “still got it.” Once he wins, he has to figure out what he stands for, gain the respect of his biggest critic (Holly Hunter) and connect with his teenage daughter, all while trying to get anything right for America’s second weirdest city.
The series stars Ted Danson, Holly Hunter, Vella Lovell, Mike Cabellon, Kyla Kenedy and Bobby Moynihan.
“Mr. Mayor” is produced by Universal Television, a division of Universal Studio Group, Little Stranger, Bevel Gears and 3 Arts Entertainment. Robert Carlock, Tina Fey, Jeff Richmond and David Miner will executive produce. Eric Gurian will serve as a co-executive producer.

Kyla Kenedy

Orly Bremer, “Mr. Mayor”

MR. MAYOR -- Season: 2 -- Pictured: Kyla Kenedy as Orly Bremer -- (Photo by: Robert Trachtenberg/NBC)

Kyla Kenedy stars as mayor Neil Bremer’s (Ted Danson) daughter Orly Bremer on NBC’s new comedy “Mr. Mayor.”

Kenedy has spent nearly a decade building an impressive resume for an actress her age. She has worked steadily in film and television and across multiple genres. She is most recognizable from her roles on the ABC sitcom “Speechless” and for her recurring role on the international hit show “The Walking Dead.”

For the younger set, Kenedy is known for her role as a regular on the Amazon series “If You Give a Mouse a Cookie.” On the big screen, she was last seen opposite Jeremy Sisto in the independent feature “Love Is All You Need?” for which she won the Best Actress Award at the Napa Valley Film Festival.

Kenedy began her career at 8 in Charleston, S.C., booking print and local jobs. She moved to Atlanta and quickly expanded to commercials and films, where she landed a small role in the Farrelly brothers feature film “The Three Stooges.” Shortly thereafter, Kenedy was cast in her first lead role as the title character in the award-winning made-for-TV movie “Raising Izzie,” for which she won the Grace Award at the 21st Movieguide Awards, and a Young Artist Award for Best Actress.

Kenedy relocated to Los Angeles and has gone on to appear in a steady stream of dramatic and comedic projects, including heavily recurring roles on “Night Shift” and “The New Normal” “for which she was again nominated for a Young Artist Award for Best Actress in a Guest Starring Role.

Kenedy currently lives in Los Angeles, and loves reading, traveling, and all outdoor activities.

Vella Lovell

Mikaela Shaw, “Mr. Mayor”

MR. MAYOR -- Season: 2 -- Pictured: Vella Lovell as Mikaela Shaw -- (Photo by: Robert Trachtenberg/NBC)

Vella Lovell stars as Chief of Staff Mikaela Shaw on the NBC comedy “Mr. Mayor.”

Lovell is best known for her standout series regular role as Heather Davis on all four seasons of CW’s “Crazy Ex-Girlfriend.” She is currently recurring in the new Amazon Prime coming-of-age series “As We See It.” Lovell is also the voice of Mermista in the animated Netflix series “She-Ra and the Princesses of Power” (2020 Critics’ Choice Nominee – Best Animated Series).

On the film side, she is best known for her role in the indie hit “The Big Sick” and recently starred in the Comedy Central holiday parody movie “A Clüsterfünke Christmas,” which was written and produced by “Saturday Night Live” alums Rachel Dratch and Ana Gasteyer.

A graduate from the Juilliard School, Lovell has a bachelor’s degree from New York University. While at Julliard, she played Anna Mae in Pulitzer Prize winner Lynn Nottages’ “By the Way, Meet Vera Stark,” and Lady Macbeth in an adaptation of “Macbeth.” She has also performed in “The Bacchae,” directed by JoAnne Akalaitis at Shakespeare in the Park, and “The Great Recession” as well as “Kaspar Hauser” at the Flea Theater.

At Williamstown Theatre Festival, she was seen in “A Streetcar Named Desire,” directed by David Cromer, “When You’re Here” by Samuel Hunter and “Camp Monster.”

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Vella Lovell and Kyla Kennedy of "Mr. Mayor" on NBC

Interview with Ted Danson and Holly Hunter

TV Interview!

Holly Hunter and Ted Danson on Zoom interview for "Mr. Mayor" on NBC 3/8/22

Interview with Ted Danson and Holly Hunter of “Mr. Mayor” on NBC by Suzanne 3/8/22

It was so great to speak with these two legendary actors. Holly is an Oscar winner and of course, Ted Danson has been on TV for a very long time and is still bringing the laughs on this NBC show. They’re clearing having a great time. This was a press panel, so I was only able to ask one question. The other questions are from other journalists. I would have loved to have asked many more questions. Maybe someday I will! Don’t miss the show, which returns tomorrow, Tuesday night on NBC! It’s even funnier this season.

 

Ross: Hi guys. Ross Crystal from Showbiz Express. Ted, Holly, thank you so much for doing this and congratulations on the new season. Let me begin with you, Ted. How do we move into the new season? How does the mayor approach this new term, f I may?

Ted: Well, I think he probably has come to the realization that, just because he wanted to prove to himself and his daughter that life wasn’t over, and he ran to be mayor does not necessarily qualify him to be the mayor. [Chuckles] So this year he decides to right away hire somebody he calls the innovation team. You know, the brightest, youngest brains in California, to start shaping his administration and it creates a huge amount of friction in the office. It does provide a love affair for one of the characters, but it really just messes things up even more.

Ross: And Holly, Arpi is as annoying this time around as she’s ever been. What is it about this character that you love?

Holly: I’m just kind of gobsmacked by that. I hardly know how to proceed.

Ross: Hee, hee.

Ted: He’s an older white gentleman, Holly, you know, like the mayor…

Holly: Oh, right. It’s so interesting to think about the I team… the Innovation guys coming in… because Arpi works from…she’s like, old school. She is analog. And in a way, that’s the way city halls all across the United States operate. You know, they’re grassroots, from the ground up. “Can somebody please, tighten the manhole cover that is clattering every time a car goes over it?” I mean, you’ve got those kinds of issues that are coming into city hall. People screaming about whatever…the curbs not being at level on their street. I mean, it’s from the ground up that council members are dealing with issues in their city. From that, all the way to homelessness and traffic in Los Angeles. So the challenge for Arpi in this season, dealing with these Silicon Valley guys who come in with virtual reality approaches to problems is like…it’s so beyond annoying.

Ted: Yeah, I love that we’re in the age of man discovering the real meaning of mansplaining and beginning to realize that “Dear Lord, I never opened my mouth without actually starting to mansplain something.” And I think, you know, to have Neil Bremmer who has taken a sweet (he’s a good guy, but) a very shallow cut on life and is now explaining to Arpi how the city should be run. It has to be the most maddening thing in the world for her character. Because she does desperately care the old fashioned way — really care — about what they’re doing.

Ted: Hey Ross. Did I throw you under the bus? I’m sorry, buddy. Forgive me.

Ross: Oh, no, not at all. I was just wondering, as Mayor Garcetti leaves office and goes to be an ambassador, has he ever called you? Has he ever said, “Hey Ted… seriously?”

Ted: I think he has… I just didn’t want to take his calls.

Ross: [Laughs]

Suzanne: Ted, your character is a rich, entitled, clueless, self-involved guy. Was there anyone in real life that you think about when you’re portraying him?

Ted: I just…shave, look in the mirror, and go, “I got it. I got it. Thank you, Ted.” And off I go.

[Laughter]

Ted: You know, we’re all discovering things about ourselves, gratefully, slightly painfully, during the last couple of years. How entitled! I can just look at myself — how unknowingly entitled I am. I’m a thoughtful, sweet, liberal enlightened man. And I’m not, you know, I’m not. I thought I was. So, truly, I do feel like I was made for this part. And, I think, like the mayor… I, Ted am willing to change, but it’s very hard for me to see myself accurately… how silly I am, you know?

Suzanne: And Holly, you were just talking about the innovations and everything. In real life, on sets…you’ve been around for awhile. Does it ever bother you? Do you ever have that same sort of reaction when younger people come in, onset or anything like that? Do they make you feel like they want to reinvent everything [whereas] you’ve been doing it awhile, [but] they’re like, no…

Holly: Yeah, no, no, that doesn’t happen because you know, what’s so wild is… in a way, I could, I might be able to speak for most actors, but I think most actors, in some ways, are kind of childlike. So many actors that I love, the actors that I love, and adore working with, they’re kind of childlike… they’re children, in a way. Actors are… you spend your entire career changing, adapting….You’re doing things you’ve never done before. So many sets that I come on to… almost every set that I ever go onto. There’s no one that I know. I am meeting everyone for the first time on that set, ever. And I am used to that, and I’m sure Ted can say the same thing.

So actors have this liquidity… they’ve got a fluidity about change that I admire, and I love, and I’ve chosen to do movies, and chosen to work with people who often are breaking through to the other side in terms of form, how movies are made… [For instance], Terrence Malick. When I worked with him on a movie. I wanted to work with Terry to see how he made them and wow. He blew my mind! And working with Catherine Hardwood on “Thirteen,” she was making “Thirteen” in a way that I’d never seen– I’d never experienced before. This also is– it’s just a completely new form for me. So it keeps me changing. I gotta be up for it, and I love that challenge.

Suzanne: Right. Thanks!

Karen: Hi, I’m Karen Moul from SciFiVision. Ah, that’s actually, Suzanne, a great lead-in to my question, which is: What’s it like, now, settling into the second season behind the scenes with a cast that’s in place. I don’t know if COVID protocols are loostening, but maybe Holly first could talk about, what the climate is like, with your second season starting?

Holly: Well, joyful because we have this fantastic DP, David Miller, and he’s a wonderful touchstone because all sets are a little different and how everything is set up is a little bit different. And he provides us with this beautiful kind of structure that we can then go crazy in. We learned the structure from David, and then we all just go wild. We know what the perimeters are of our playing field. And for me to get more acquainted with that… you know, and Ted always, already was very acquainted with working with him. That that’s been very delightful, and I guess there’s just a little more confidence and intimacy with our characters. There had been an automatic kind of chemistry that existed between this cast that we’re all – I think – grateful for because you know, that doesn’t have to happen. And it did with us. There’s a kismet there.

Karen: And Ted, you’re a veteran of the sitcom format and have done many years. This is not your first, I guess, renewal second season. Do you have anything to add to all these comments?

Ted: Yeah, I mean, Holly said the word joyful. (clears his throat) Pardon me… It was joyful. COVID, as you suggested, had relaxed a little…we were still tested and did all of that. But when we got in front of the cameras, we could rehearse without masks, and there was a freedom that didn’t exist the first season. And there was also… we had taken a three- or four-month break, like the world did. And during that time, as a cast, we Zoomed a lot. We stayed in touch. We shared (like everybody did), because it was so intensely real, that the world was locked down, that we shared at a level that we probably wouldn’t have been able to, if we’d had a normal, season after season after season. We really got to know each other and appreciate each other. So when we got back together, not only was that a joy, a freedom of being able to be happily, joyfully, creative… But also, the writers and the actors were discovering who they were. You know, there’s always a process in the beginning where writers will say, “Have your character do this, do that.” And then you’re like, “No, that didn’t work. That didn’t work. That worked.” You know? So there’s a process of discovering who you are as a group, as a show, and, I think we kind of jelled last season, and it was joyful for all of us to appreciate the other characters, appreciate the other actors, and bounce off of such amazing players. It was very exciting.

Karen: Thank you.

Dano: Hi there, Dano from Nocturnal. So, for both Holly and Ted…You guys have both, worked with a lot of different comedic styles and, Tina Fey has her own cadence and brand. Is there a difference in approach or learning curve, versus like a “Bored to Death” and “Cheers” to this, or with Holly, a Coen brothers script to this… I guess, Ted, you also had a Coen-inspired script with “Fargo.” What’s the difference in approaching it?

Ted: Well, Robert and Tina are very fast. It’s much more of a… I grew up in a, “Here comes a joke. Pretty good joke, right?” You know, and the audience would laugh and you’d go on. There was a pause, there was a, you know, a kind of one thing at a time. And, this is very, very, very fast. You’re doing shots, you’re pointing out something political, but you’re kind of firing over your shoulder as you go galloping by. So the speed, the elevated quality of the writing, the words…It’s a challenge. I mean, your job as an actor is to ground whatever you’re doing in some kind of reality. And Tina and Robert are pulling you the other way going, “Nah, let’s shoot for the moon.” But your job remains the same. So that tension of making whatever it is they’re asking you to do, real, is I think the joy, the challenge and the excitement of what we’re doing.

And let me just add one thing about Holly hunter. You know, I can be a nice actor, meaning, I know what you want, so I’ll give it to you. You know, here it comes, you know, and that can be slightly boring sometimes. I watch Holly insist on grounding what it is she’s doing. It couldn’t be as far-fetched as you can imagine, but it’s still grounded and you never let go of that, Holly, and it’s a real inspiration for the rest of…for me, I’ll speak for myself.

Check out our other “Mr. Mayor” interviews with Vella Lovell and Kyla Kenedy and Mike Cabellon and Bobby Moynihan

MORE INFO:

Trailer

Mr. Mayor PosterSeason Premiere: March 15

“Mr. Mayor” follows a retired businessman (Ted Danson) who runs for mayor of Los Angeles to prove he’s “still got it.” Once he wins, he has to figure out what he stands for, gain the respect of his biggest critic (Holly Hunter) and connect with his teenage daughter, all while trying to get anything right for America’s second weirdest city.
The series stars Ted Danson, Holly Hunter, Vella Lovell, Mike Cabellon, Kyla Kenedy and Bobby Moynihan.
“Mr. Mayor” is produced by Universal Television, a division of Universal Studio Group, Little Stranger, Bevel Gears and 3 Arts Entertainment. Robert Carlock, Tina Fey, Jeff Richmond and David Miner will executive produce. Eric Gurian will serve as a co-executive producer.

Ted Danson

Mayor Neil Bremer, “Mr. Mayor”

MR. MAYOR -- Season: 2 -- Pictured: Ted Danson as Neil Bremer -- (Photo by: Robert Trachtenberg/NBC)

Ted Danson stars as Mayor Neil Bremer on the NBC comedy “Mr. Mayor.”

Danson is a Golden Globe- and Emmy Award-winning actor known for an array of exceptional performances, most memorably for his portrayal of Boston bartender Sam Malone on NBC’s multi-award winning and iconic comedy “Cheers,” which ran for 11 seasons and won three Emmys as best comedy series. He recently starred in creator Michael Schur’s acclaimed NBC comedy series “The Good Place” for which he was nominated for his 14th Emmy Award for outstanding lead actor and received a Critics Choice Award for his role as Michael.

Other recent credits include the 10th season of “Curb Your Enthusiasm,” FX’s critically acclaimed second season of “Fargo,” CBS’ long-running “CSI” and “CSI: Cyber,” FX’s “Damages,” as well as Golden Globe nominated role on CBS’ “Becker.”

In film, Danson was seen in 2018 in “Hearts Beat Loud,” a drama music film that premiered at Sundance. He has also appeared in several other high-profile projects, including the 1987 blockbuster hit “Three Men and a Baby” and its sequel, “Three Men and a Little Lady.” He also had a co-starring role in Steven Spielberg’s World War II masterpiece “Saving Private Ryan.”

Raised outside Flagstaff, Ariz., Danson attended Stanford University where he became interested in drama during his second year in school. He then transferred to Carnegie Mellon University and graduated in 1972 with his Bachelor of Fine Arts degree in drama. After graduation, he was hired as an understudy in Tom Stoppard’s Off Broadway production “The Real Inspector Hound.” Danson relocated to Los Angeles in 1978 to help manage the Actor’s Institute for a year-and-a-half while he taught there. Six months after his arrival, Danson earned a role in “The Onion Field” and co-starred in the TV movie “The Women’s Room.”

In addition to acting and producing, Danson is an environmental activist, co-founding the American Oceans Campaign (AOC) in 1987 to alert Americans to the life-threatening hazards created by oil spills, off-shore development, toxic wastes, sewage pollution and other ocean abuses. The AOC merged with Oceana in 2001. Oceana works to teach citizens how they can participate in protecting and restoring marine resources, and to show Congress that Americans are concerned with these issues.

Danson resides in Los Angeles with his wife, actress Mary Steenburgen.

Holly Hunter

Arpi Meskimen, “Mr. Mayor

Holly Hunter stars as Deputy Mayor Arpi Meskimen on the NBC comedy “Mr. Mayor.”

Hunter has been nominated for four Academy Awards for the films “Broadcast News,” “The Firm,” “The Piano” and “Thirteen.” In 1993, she won the Academy Award and Best Actress at the Cannes Film Festival for her performance in “The Piano.” In 2008, Hunter received a star on the Hollywood Walk of Fame. In 2009, she was awarded the Women in Film Lucy Award.

Most recently Hunter was seen as rival CEO Rhea Jarrell in HBO’s hit drama “Succession” and Showtime’s highly anticipated miniseries “The Comey Rule.”

Hunter reprised her iconic voice role as Elastigirl in the highly anticipated sequel to the animated hit films “The Incredibles,” alongside Craig T. Nelson and Samuel L. Jackson.

Hunter co-starred in “The Big Sick,” which won the Critics’ Choice Award for Best Comedy as well as be Oscar nominated for Best Original Screenplay. For her supporting role, Hunter was nominated for a Screen Actors Guild and Independent Spirit Award, and was honored with a Career Achievement Award at the 2018 Palm Springs International Film Festival.

Hunter was nominated for an Academy Award for her role as a mother dealing with her daughter’s wild and rebellious behavior in the film “Thirteen,” directed by Catherine Hardwicke. Hunter was also honored with nominations from the Hollywood Foreign Press, SAG, BAFTA and the Broadcast Film Critics Assn. for this role.

Hunter received the Academy Award for her performance as a mute Scottish widow in Jane Campion’s “The Piano.” For this role, she received the Cannes Film Festival Award, British Academy Film Award, New York Film Critics Circle Award, Los Angeles Film Critics Association Award, National Board of Review Award and a Golden Globe Award, all for best actress. That same year, Hunter garnered an Academy Award nomination for her performance as the investigative secretary in “The Firm,” based on the John Grisham novel.

MR. MAYOR -- Season: 2 -- Pictured: (l-r) Holly Hunter as Arpi Meskimen, Ted Danson as Neil Bremer -- (Photo by: Robert Trachtenberg/NBC)Hunter was nominated for another Academy Award for her portrayal of a driven career-woman producer in “Broadcast News.” For this role, she received the New York Film Critics Circle Award, Los Angeles Film Critics Award, National Board of Review Award and Berlin Film Festival Award, all for best actress.

Hunter made her television series debut in TNT’s drama “Saving Grace,” which earned her nominations for two Emmy Awards, two Screen Actors Guild Awards and a Golden Globe Award for Best Lead Actress in a Drama Series. “Saving Grace” ended after four seasons in 2010.

Hunter starred in ABC’s “When Billie Beat Bobby” where she portrayed tennis legend Billie Jean King in the 1973 “Battle of the Sexes” tennis match between King and Wimbledon champion Bobby Riggs. The role garnered her an Emmy nomination for Best Actress in a Television Miniseries or Movie.

Hunter was nominated for an Emmy for her role in Showtime’s “Things You Can Tell Just by Looking at Her.” The film tells stories about love and loss in the lives of five women. The film won an award in Un Certain Regard at the Cannes Film Festival and also screened at the 2000 Sundance Film Festival. Hunter also starred in Showtime’s original movie “Harlan County War,” for which she garnered both an Emmy and Golden Globe nomination for Lead Actress in a Miniseries or Movie.

Hunter was seen in the Sundance Channel series “Top of the Lake,” co-starring Elisabeth Moss, written and directed by Oscar winner Jane Campion. Hunter’s performance garnered her a Screen Actor’s Guild nomination for Outstanding Performance by a Female Actor in a Television Movie or Miniseries.

She also starred in “The Positively True Adventures of the Alleged Texas Cheerleader-Murdering Mom,” for which she won the Emmy for Best Actress. This role also garnered her a Golden Globe nomination. She starred as Jane Roe in NBC’s “Roe vs. Wade” and was awarded the Emmy for her performance.

In 1982, Hunter made her Broadway debut in Beth Henley’s “Crimes of the Heart” followed by “The Wake of Jamey Foster.” She was most recently seen on stage in the revival of David Rabe’s Tony Award-winning play “Sticks and Bones,” opposite Richard Chamberlain, Nadia Gan, Morocco Omari, Bill Pullman, Ben Schnetzer and Raviv Ullman. Hunter starred in Marina Carr’s “By the Bog of Cats,” directed by Dominic Cooke at Wyndham’s Theater in London.

Hunter co-produced and starred in Beth Henley’s “Control Freaks” and produced Ray Barry’s “Mother’ Son” at the Met Theatre in Los Angeles.

Other New York stage appearances include “The Miss Firecracker Contest,” “Battery,” The Person I Once Was,” “A Weekend Near Madison” and “Impossible Marriage.”

Hunter resides in New York.

Proofread and Edited by Brenda

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Ted Danson and Holly Hunter of "Mr. Mayor" on NBC (Photo by: Robert Trachtenberg/NBC)

Interview with the cast of “Grand Crew”

TV Interview!

"Grand Crew" cast on NBC

Interview with cast of “Grand Crew” on NBC by Suzanne 12/9/21

The actors on this show are all friends in real life, so that made it a very entertaining press panel. Their characters are very interesting and work well together. As a comedy, I don’t find it all that funny. You should watch it, though, and make your own evaluation.

NBCUNIVERSAL

VIRTUAL PRESS TOUR 

NBC

Grand Crew

Nicole Byer, Talent, “Nicky”

Justin Cunningham, Talent, “Wyatt”

Aaron Jennings, Talent, “Anthony”

Echo Kellum, Talent, “Noah”

Grasie Mercedes, Talent, “Fay”

Carl Tart, Talent, “Sherm”

Phil Augusta Jackson, Creator/ Executive Producer/Showrunner

Dan Goor, Executive Producer

Virtual via Zoom

December 9, 2021

© 2021 NBCUniversal, Inc.  All rights reserved.

MARIANA DURAN:  Hi.  I’m Mariana Duran, and I’ll be introducing our new comedy, “Grand Crew,” which will be sneak‑previewed on Tuesday, December 14, 8:00 and 8:30 p.m., before moving to its normal time slot on Tuesday, January 4th, at 8:30 p.m.  From Phil Augusta Jackson and Dan Goor of “Brooklyn Nine‑Nine” comes a new comedy that proves life is better with your crew.  This group of young professionals are all trying to navigate the ups and downs of life and love in Los Angeles, and they always find time to gather at their favorite bar to wind down and unpack it all.  And just like wine, their friendship gets better with time.  Here’s a look at “Grand Crew.”

In the first row, our executive producer, Phil Augusta Jackson, executive producer Dan Goor, Echo Kellum, and Nicole Byer.  In the second row are Carl Tart, Justin Cunningham,

AARON JENNINGS:, and Grasie Mercedes.  We are now ready for your questions.

MATTHEW LIFSON:  Thank you, Mariana.  And welcome to our panelists.  One final reminder to use the “raise hand” function to ask a question.  Our first question comes from Mike Hughes, and Valerie Milano will be on deck.  Mike, go ahead.

QUESTION:  Yeah.  Nicole, a two‑part question.  Let me ask them one at a time here.  We are so used to you speaking in your own voice, doing reality shows, doing a show that you wrote, sort of, almost about your life and so on.  So what’s different now when you are doing someone else’s scripts?

NICOLE BYER:  What’s different?  Honestly, it’s not that different because I know Phil so well and Phil and I did improv together in New York for a very long time.  Like, ten years ago, we did improv out here, and then her name is Nicky.  My government name is Nicole.  She’s based on me a little bit.  So it is my voice.  And I feel like our writers’ room and Phil are just so talented that everything that was written was just easy.  It was easy to find.  It was easy to say.  It was easy to perform.  So, honestly, it wasn’t much different than what I’m used to, but it was fun and funny.

QUESTION:  This is ‑‑ you talk about it is a little bit your life, a little bit your voice.  You get almost serious for a minute there where your character talks about how her mother dying when she was a teenager kind of shaped her personality a little bit.  Now, that happened to you too in real life.  In what way did that shape your personality in some way?

NICOLE BYER:  I think it shaped my personality in a way where, when something sad or tragic happens, I tend to lean into finding the humor in it because I do think laughter is the best medicine.  How corny.

AARON JENNINGS::  I’m with you.  I think you are right.

NICOLE BYER:  Who wants to be sad?  So I think it shaped me in a way where I can be sad about something because I am a multifaceted person, but, also, I’d rather just laugh and have a nice time.

DAN GOOR:  These questions got deep real fast.

NICOLE BYER:  They did.

MATTHEW LIFSON:  Our next question comes from Valerie Milano, and on deck is Suzanne Lanoue.  Valerie, go ahead.

QUESTION:  Hi there.  What will set the show apart from others such as “Insecure” or “Black‑ish”?

PHIL AUGUSTA JACKSON:  I think, for me, the inspiration for this show is just based off of my real life.  It’s about a group of friends that hang out at a wine bar, and in real life, I hang out with my friends at a wine bar, the people that are in front of your screen right now.  So, I think that’s the core of it.  I worked on “Insecure,” and I love that show.  I love Issa and Prentice.  That whole camp over there is amazing.  And I think what made that show so relatable was the authenticity with which Issa was bring it to the table.  And so, in the same way, what I’m trying to do is just share my perspective, what I find interesting and funny.  And, so, I think I based it on ‑‑ that’s going to be what sets this show apart is just it’s coming from my personal point of view.  We have an amazing cast and (inaudible).

DAN GOOR:  What it’s like, it’s a very specific, very funny show, and also, I mean, you know, there are 25 shows about a group of white characters in the 1990s, and, you know, there was nobody asking what separated them or made those shows different or distinct.  These are different stories about different people in different circumstances than “Insecure” or “Black‑ish.”  We all think those are good shows, but this is its own show that just also happens to have an all‑Black cast.

QUESTION:  Could you give us a couple of examples about some recurring themes that the viewers can expect to see in the series?

PHIL AUGUSTA JACKSON:  I’m not sure about recurring themes, but I think, with this first season, what we did try to do is make sure that every episode did have a theme that is not only relatable at a broader, human level, but is relatable at a Black level.  So, in Episode 2, we talk about self‑care.  In Episode 3, we talk about the insecurity of status of who makes the money in a relationship.  In Episode 4, we talk about therapy.  In Episode 5, we talk about being inspired by your friend.  In Episode 6, we talk about Black men and their fathers.  In Episode 7, we talk about headlines.  So, each episode, we were very intentional about the themes that we wanted to hit.  But as far as recurring themes, I think one recurring theme is friendship and just having your friends there by your side for whatever you are going through and finding the fun and the funny in those situations.

QUESTION:  Great.  Thank you for talking about it.

ECHO KELLUM:  Yeah.  Like, from current things like being human and, you know, love and loss and just exploring being young and alive in L.A., you know.  It’s just a recurring theme, which is being alive.

AARON JENNINGS::  The recurring themes are the human things, which we can all connect to.

GRASIE MERCEDES:  Yeah.

AARON JENNINGS::  So being human beings, that’s a fact.

PHIL AUGUSTA JACKSON:  And I don’t know which one of you just said it but the wine.

AARON JENNINGS::  And the wine.

PHIL AUGUSTA JACKSON:  The low‑hanging fruit, that was such an alley oop.  I should have said, “Well, first of all….”

NICOLE BYER:  The wine.

QUESTION:  Okay.  Thanks again.

AARON JENNINGS::  Thank you.

MATTHEW LIFSON:  The next question is from Suzanne Lanoue, and Jeanne Wolf will be on deck.  Suzanne, go ahead.

QUESTION:  Hi.  I enjoyed the first two episodes.  Those are funny.

PHIL AUGUSTA JACKSON:  Thanks so much.

AARON JENNINGS::  Thank you.  Thank you.

QUESTION:  And, Echo, I really loved your character on “Arrow.”  What attracted you to this role?

ECHO KELLUM:  Oh, man.  First of all, the fact that Phil was working on it.  As Phil said, we are actually good friends in real life, and I’m such a fan of his creative artistry.  And so, automatically, Phil wrote an amazing script and a lot of just really deep, fleshed‑out characters in different ways than I’ve seen them, and I was very excited to get the opportunity to come and play any part on it.  I would have been a grip on this show if I had an opportunity to do it.  So that’s number one, but the character really connected to me in a lot of specific ways.  As Phil said, it’s based off of our friend group.  So, I think we all have a lot of commonalities and experiences that we go through, being young Black professionals just trying to survive, you know, in L.A., and so these characters definitely connect to that struggle and the successes and wonderful aspects of that aspect too.  So, there’s a lot that pulled me into it, and I really appreciate you asking me that.

QUESTION:  Thank you.

CARL TART:  I was a grip on the show.

AARON JENNINGS::  Yeah.  Carl (inaudible).

MATTHEW LIFSON:  The next question comes from Jeanne Wolf, and Jamie Ruby will be on deck.  Jeanne, go for it.

QUESTION:  Hi.  It’s good that you are making us laugh.  And the setup of the show, the introduction, is kind of that you are making fun of the stereotypes that are being treated in a very serious way today.  So, doing that, making fun of the stereotypes, who is going to be thrilled about that, and who is going to be upset about that?

DAN GOOR:  I don’t know that it’s ‑‑ sorry.  I don’t know that it’s making fun of the stereotypes.  I think the idea is, sort of, trying to elucidate that the stereotypes are just that.  They are stereotypes, and they don’t in any way speak to the totality of these characters.  So, I don’t think, in any way, it’s, like, making light of these stereotypes.  I think the idea is to say how ridiculous it is to only portray Black men in the way in which those stereotypes suggest.  And then what we see, we are in no way laughing at Garrett Morris when he says that these characters have layers and everything else.  That’s really the mission statement of the show, and I think that’s what Phil has so geniusly put into, really, every character and every script and everything.  But in no way is it intended ‑‑ hopefully, no one will take it as us making light of those stereotypes.  I didn’t mean to cut you off, Phil.

PHIL AUGUSTA JACKSON:  No.  I was going to say, I think, to me, the plan we were caught up in was we are just like everybody else.  I feel like a lot of times there are certain tropes that get played out in the media with Black people, and we are put into a specific box where there’s an opportunity just to be shown as, like, slice‑of‑life, everyday folks that are just trying to figure stuff out, and so that’s why we ‑‑ I think, with the characters that we have, whether it be Justin’s character ‑‑ he’s playing Wyatt ‑‑ like, a married guy, I would just like to see what it’s like for a married guy, who really enjoys his marriage, be in a friend group.  And we’ve got a guy who is an accountant.  I had a friend in college who was in finance and stuff like that.  So, it’s really just about just humanizing the Black experience.  And, again, I’m not trying to speak for everybody.  I don’t think we are trying to speak for everybody with this show.  It’s just, here’s a set of friends that exist in this specific part of Los Angeles, and, hey, they feel things just like everybody else.  And that was, kind of, the goal, to go from there.

QUESTION:  For the actors, is that showing of the layers what attracted you to the show?

AARON JENNINGS::  Absolutely.  Go ahead, Justin.

JUSTIN CUNNINGHAM:  I’d like to, kind of, go back to that question again, actually the prior question, which is ‑‑ well, actually, this question too about what attracted.  Yeah, I don’t think it’s necessarily making fun of stereotypes or, like ‑‑ see, I’m from Arkansas.  So, I’ve, sort of, lived with the perception of how people see me on a daily basis, being there.  And when I was in New York and we got this script ‑‑ I’ve told Phil this, and I’ve told several of the cast this.  But when I was auditioning and we got this script, people were talking about this script.  Like, me and my friends of color, we were, like, “Have you gotten this script?”  And what was so unique about it was that it was so human.  And it was, sort of, not necessarily making fun of the stereotypes, but it was showing the human side that we didn’t get to explore as actors.  And that’s what really drew me because I really fell right into this character.  And even in my audition, I had so much fun going on tape for it because it wasn’t playing towards, basically, these stereotypes.  It was showing that I can be human in this industry and I can be human through my art as well, and that’s what really drew me.

AARON JENNINGS::  And to piggyback off of that, Justin, if you don’t mind, I had the opportunity to audition for a few of the characters, and what I loved about it through the auditioning process was that each character, sort of, forced me and enabled me to tap into a different side of myself, and still they were fully fleshed out and dimensional characters.  And then, as I arrived at Anthony, it was, like, okay, as you look at the whole group, you see that these are people that are ‑‑ and a credit to you, Phil and Dan, and the rest of the writing staff ‑‑ these are people that I know in life and that I see on a daily basis that I have had experience with.  And I was so happy to see that, especially on a network such as NBC, to see that.  I don’t think we oftentimes get that opportunity.  And not only is it fully realized, but there’s also a lot of humor, and there’s also a lot of fun that we get to have in going to work every day.  It’s a fun set to be on.  We are collaborating with people who are passionate about the work but also have just, like, this immense humanity and capacity for love, and that’s what we want to bring to the audience is that love and that fun.

ECHO KELLUM:  People are really, really freaking good at their jobs to come and bring it every single day with the effort, professionality, like, the humor.  Like, I feel so privileged to get to come on set and work with every single person on this panel and all the people behind the scenes too.  It’s just, like, to have that feeling, like, family, like, everyone is at the top of their game is great.

DAN GOOR:  Watching Carl do his grip work.

ECHO KELLUM:  Oh, man.  When Carl out, he’s with the light.

DAN GOOR:  One time he had to fill in as a boom operator.  You can see the dedication.

ECHO KELLUM:  Oh, my gosh.  (Inaudible) was just shaking.

DAN GOOR:  He didn’t know he was in the cast for, like, the first few episodes.

(Laughter.)

CARL TART:  Everybody’s dialogue was Chris.  Everybody’s dialogue.

AARON JENNINGS::  No ADR for anybody.

ECHO KELLUM:  So, no ADR, yeah.

PHIL AUGUSTA JACKSON:  Nicole, didn’t you actually use the stick at a certain point?  Was that the finale, or am I ‑‑

NICOLE BYER:  Yeah.  It was the last scene of our last episode.  I was, like, “Doot da doot.”

(Laughter.)

DAN GOOR:  I didn’t mean to cut you off, Echo.

ECHO KELLUM:  No.  But, like everyone was saying, there’s a lot of nuance, you know, people of color, the monolith.  We are all very different, distinct individuals, and Phil is really tapping into it from a perspective that really comes from a personal place, and I think that’s what really drew us as artists.  There’s a lot of uniqueness and perspective from his personal life.

GRASIE MERCEDES:  I would love to add to that that this is the first audition I personally have had in a really long time where I read it, and not only did I think it was so funny, but I didn’t feel like I had to play at a stereotype of a Black woman that I so often have to play at.  I felt, like, oh, I can just bring who I am to this character, and it felt really good.  I felt really excited about it where a lot of times I feel, like, “Oh, I’m not that thing they want me to be,” and that thing we see over and over again.  And that’s what I think is so refreshing about all of these characters.

AARON JENNINGS::  We hope that answered your question.

MATTHEW LIFSON:  Our next question comes from Jamie Ruby, and Jamie Steinberg is on deck.  So, Jamie R., go ahead.

QUESTION:  Hello.  Thank you for talking to us.  Can you tell me, during working on ‑‑ throughout the time working on the show ‑‑ this is for the actors.  Sorry ‑‑ what have you learned about yourself, either professionally, personally as an actor, as a person?  Is there anything that you’ve learned since you started?

NICOLE BYER:  Um ‑‑

ECHO KELLUM:  I’ve learned that ‑‑ sorry, Nicole.  You’ve got it.

NICOLE BYER:  No.  You go.

ECHO KELLUM:  Okay.  Well, I mean, honestly, I’ve learned that I love working with my friends and people that are close to me in my life.  I feel like sometimes, being a Black person, it’s really rare that we get to create with people that are closest to us.  I feel like I’m one in a mix.  Like, I’m just, like, one Black person in something.  And to come do this show with the people that I’m actually close to in life and really just kill it together is something that I just love, to just, like, create art with family and friends and people that I would love to have a job in real life.

NICOLE BYER:  Yeah.  That was fully my answer as well.

AARON JENNINGS::  Me too.

NICOLE BYER:  I really love working with friends, and I also love working with people who are open to collaborate and just, like, easy to work with, funny, talented people who are a joy to be around but also a professional.  Do you know what I mean?  It’s, like, we can joke, but, also, we came to do a job.  I love that so much, and that’s what I’ve learned.  I really like my friends.

CARL TART:  I’ve learned a few things.  I’ve learned that I’m not a morning person at all.  Also, I’ve learned that I never want to work on another set again because this one is so perfect.  I’m just playing.  I’m just playing people who are given jobs.  Don’t worry about what they are saying.  No.  It was such a fun time.  Like, even the hard days weren’t hard because we had such a good time.  And literally everybody ‑‑ everybody who we worked with, everybody was so fun.  It went so perfectly the whole time that we would be, like, “Who is going to ruin it?”  I guess it’s up to me to come in and demand more money next season.

(Laughter.)

I felt like it was such a ‑‑ I also learned ‑‑ and this is more personal, I guess.  I learned to trust myself a little bit more acting‑wise.  I think I always want to lean into what I think is my strength, which is being ridiculous.  And Phil challenged me to stay grounded a lot of times and actually forced me to believe that it would be good.  And everybody else in the cast stayed on me about it.  Aaron would threaten physical violence when I talked down on myself.  When I talked down on myself, Aaron would be, like, “You ain’t gonna to be talking about yourself like that in front of me.”  And, so, I appreciate the support.  I think I learned that I can act a little bit, you know.  I think that’s what I learned.

AARON JENNINGS::  A lot of bit.  A lot of bit.

GRASIE MERCEDES:  I was going to say, I think Aaron was everyone’s cheerleader.  I think, Aaron, he’s such a light.  And, for me, he definitely ‑‑ I come in on the second episode.  So, I was a little scared and nervous to join this crew.  And from day one, everyone was incredible, but Aaron specifically reached out and was just, like, “You belong here,” because there was that feeling of, like, “Do I belong here?  These people are so funny and so great.”  And I know who they are, and I know how funny they are, and I know how talented they are.  And everyone was so warm and incredible.  And Phil, I think, challenged me to believe that I could do comedy.  I never thought I’d be on a sitcom.  I always thought I’d be, like, a drama girl, so just embracing that and having more confidence in that.  And I’m excited.  I hope we get a second season because I’m excited to blend Fay even more.

AARON JENNINGS::  Well, let me tell you, Grasie, you can still be very dramatic, but ‑‑

GRASIE MERCEDES:  Touche.

AARON JENNINGS::  Touche.  Yeah, the same.  The same.

MATTHEW LIFSON:  So, we are actually going to go to Rick Hong with the next question, and then Laura Surico will be on deck.  So, Rick, whenever you are ready.

QUESTION:  Hello.  I wanted to tell everybody congratulations.  So, what I love about this show is that it takes place in the backdrop of Silver Lake.  So, I was just trying to figure out just a fun question.  How convenient is it for the cast, or are some of you west-siders?

CARL TART:  I think we are all east‑siders, right?

GRASIE MERCEDES:  We are all east‑siders.

AARON JENNINGS::  We are all east‑siders.

CARL TART:  I’m from the west side.

ECHO KELLUM:  The most convenient, we can walk to set sometimes.

GRASIE MERCEDES:  Yeah, literally.  We literally shot down the block from me once.

CARL TART:  I’m from West L.A., and growing up in L.A., where I’m from, I never came to Silver Lake at all, like, never.  And then once I started doing stuff with The Second City and UCB Theaters that are more in the Hollywood area, more east, now we always frequent Silver Lake.  We are always in Silver Lake.  So, I spend much more time there than I do on the west side where I’m from, where my origins are, so yeah.

PHIL AUGUSTA JACKSON:  I definitely ‑‑ oh, sorry.  Go ahead.

ECHO KELLUM:  No.  Go ahead, Phil.

PHIL AUGUSTA JACKSON:  I was going to say I definitely ‑‑ I like to walk a lot.  I like walking.  That’s why I like the east side a lot.  I walk the reservoir a lot, and I definitely walk to Paramount every day.  So, it’s very convenient.

AARON JENNINGS::  You walk to Paramount every day?

PHIL AUGUSTA JACKSON:  It’s, like, three and a half miles.  Yeah.

DAN GOOR:  What’s your daily steps?  What does that look like a day for you?

PHIL AUGUSTA JACKSON:  Six miles.

DAN GOOR:  How many steps?  Like, 15,000?  14,000?

PHIL AUGUSTA JACKSON:  Whatever six miles is.

NICOLE BYER:  Yeah.  I often see Phil just walking around.  It’s gotten to the point where I don’t say hello anymore because I’m, like, this is redundant.

PHIL AUGUSTA JACKSON:  I literally have been seeing Echo ‑‑ I see Echo three times a week now.

ECHO KELLUM:  It’s, like, nonstop.

PHIL AUGUSTA JACKSON:  Every other time I walk, I would just see him.

ECHO KELLUM:  And I feel like I grew up with them, driving and just, like, walking ‑‑

NICOLE BYER:  Yeah.  I don’t say hello anymore.  I’m, like, “Oh, I’m lazy.”

DAN GOOR:  You guys just flip him off.

ECHO KELLUM:  I will say to that question really quickly, it is very surreal to get to shoot and create this television show in places that I actually frequent and, like, really enjoy being around.  It’s been such a pleasure and such a unique thing.  I don’t think a lot of actors or people get the privilege to shoot in their own neighborhood.  It’s something very special, and I’m really happy that our show gets to showcase this little slice of life in L.A.

QUESTION:  It’s a true dream job, like, a small commute time, especially in L.A.

AARON JENNINGS::  Oh, yeah.

QUESTION:  Congratulations again.  Thank you so much.

MATTHEW LIFSON:  Our next question is from Laura Surico, and Janice Malone will be on deck.  Go ahead, Laura.

QUESTION:  Hi.  Can you guys hear me?  Okay.  Yes.  So, touching on what Rick said, I noticed that it mentions L.A. life and being in L.A.  It’s relatable, being an Angeleno and not having friends past the 405.  We are no longer friends, like Nicole said.  But how much of ‑‑ for the writers and for the cast, how much of your experience of being and living in L.A. did you put into this and how, being a Black, person of color, Angeleno, adds to this and, for the cast, if they added their own L.A. experiences into their characters?

AARON JENNINGS::  Carl, do you want to?  I’ll say this, I added a lot of my experience.  I’m born and raised in Los Angeles, in West Adams, but I went to Brentwood.  Then I went to King School in Compton.  Then I went to school in Santa Monica.  Then I got my diploma from Culver City in the day and the whole thing.  With that being said, I had the monte of experience, and I was in and out of a lot of different worlds.  And so I think that’s ultimately ‑‑ and correct me if I’m wrong, Phil or Dan ‑‑ one of the ‑‑ one of the themes that we are, sort of, exploring is just this nominalistic Black experience.  And so, for me, it was cool because I got to pull from all of my past experiences.  And with Anthony especially, not to give too much away, but, like, he’s the captain, and I think he definitely, sort of, bounces between two worlds, if not more.  And, so, it was very, very nice to have that real‑life experience to pull from.  Yeah, that’s what I’ll say about myself.  But, Carl, also, you have an experience growing up in L.A.

CARL TART:  Yeah.  I’m not born, but I am raised, which is why I’m not a Laker fan, I’m a Clipper fan, and I ‑‑ but I’m raised here.  I’m raised in the View Park Windsor Hills area, and I always went to school on the west side, Palms Middle School, Hamilton High School Academy of Music, class of 2007 stand‑up. I was very thankful and grateful to be able to put some of my L.A. experience into the character, and I think a lot of it also came through in the wardrobe.  I will say, I’m probably going to be the only person on a network TV show this year wearing a Marathon jersey by brother Nipsey Hussle, who is very important to me, very special to me, went to Hamilton High School as well, was always in the neighborhood, was always visible, always accessible and seen and meant a lot to the community, the Crenshaw community, the area, the View Park, the Windsor Hills, the Baldwin Hills area and stuff like that.  So, to be able to, like, represent him on a network show is really awesome after his untimely and tragic passing.  And I think just like ‑‑ just the way that you know how to move in the city and, like, being a ‑‑ I think being a local helps, kind of, sell that.  And Aaron can speak to it too.  Being, like, from here kind of helps sell the fact that not all L.A. people are these people who you can’t, you know ‑‑

AARON JENNINGS:: (Inaudible.)

CARL TART:  But, yeah, I’ve been able to sell that.

DAN GOOR:  Can I just say also, it’s located here, and there’s a lot of great specifics.  But this is really, like, a big cast show.  It’s for people from all over the country, and it’s, like, in the same way that I think a show like “Seinfeld” or “Friends,” that are very New York‑based, but can be enjoyed by everybody.  What I’m saying is this show is as good as “Seinfeld” and “Friends” is what I’m saying.

PHIL AUGUSTA JACKSON:  What are you doing, Dan?

DAN GOOR:  My internal thoughts are coming out.

CARL TART:  Los Angeles is really the seventh member of ‑‑

(Laughter.)

ECHO KELLUM:  But see, that’s the kind of thing I want to touch on, Dan, is, like, I’m from Chicago, like, real blue‑color kind of city, you know, and these stories still connect through other regions and other, like, people.  Might be set in Los Angeles, but it is really a human experience that we are really going onto these, kind of, young semiprofessionals and different perspectives in L.A.

PHIL AUGUSTA JACKSON:  And just to build off of that, I think, when in doubt, when we were in the room, from a story perspective, for someone trying to crack a story, what would happen in real life?  What would be interesting?  What conversations have we had at the bar?  I would talk to the entire cast about inspirations that they have, things that they found interesting with their characters.  I am all for putting those feelings on the page because I think that that allows for the cast to, kind of, thrive, and that was, kind of, the goal with this first season.

MATTHEW LIFSON:  All right.  Our next question is from Janice Malone, and on deck will be Lloyd Carroll.  Janice, go ahead.

QUESTION:  Okay.  I’d like to ask the two showrunners, Dan and Phil.  I’m so happy to see Garrett Morris in your wonderful trailer there.  Are there any plans, future episodes, for him?  And second, for anyone, were there any, shall we say, wine‑bar test sites that were used in the filming of the show or what?

DAN GOOR:  Let me say really quickly ‑‑ I just want to make it very clear that Phil is not ‑‑ which side are you on?

PHIL AUGUSTA JACKSON:  To me or her?

DAN GOOR:  Phil is the showrunner extraordinaire.  I’m an EP on it, but this is Phil’s show, and he is maybe the best showrunner I’ve ever been around.  He’s so, so talented.  So, I love the reflected shared glory, but I want to make sure it stays with Phil.  And with that said, Phil, you should answer the question.

PHIL AUGUSTA JACKSON:  Thank you for the beautiful clarification, Dan.  Garrett Morris is a legend.  He’s amazing.  He only appears in the pilot of the first season, but in the room, we did talk about ways to bring him back if possible and if it fit within, kind of, the structure of how the season broke.  The way it broke out this first season, it did, but I think, moving forward ‑‑ it was such an awesome start to the pilot, and we were so lucky to have him.  It would obviously be incredible if we could work with him again.  He was so kind and so talented on set that it was a dream come true to work with him.  So that is definitely on the table if he would be down to do it.

DAN GOOR:  And that monologue really, sort of, opened the pilot for us in a lot of ways.  So, you could imagine using him again would be something equally inspiring.  And then she was asking about ‑‑

ECHO KELLUM:  The cast?

DAN GOOR:  It was about any inspirations.  Wine bars that might be an inspiration.

ECHO KELLUM:  Oh, yeah.  Writing this show is really based off of a wine bar that we all frequent in real life ‑‑

NICOLE BYER:  Yeah.

ECHO KELLUM:  ‑‑ that I think we all collectively have been going to, like, the last five years where we’ve just been, like, kind of, the wine group of friends.

AARON JENNINGS::  Yeah, most of the time.

ECHO KELLUM:  It’s kind of an all‑white establishment, like, unpacking life and love and work, and I think that’s what Phil really tapped into that’s really great.

PHIL AUGUSTA JACKSON:  And when everyone got cast, we were hanging out ‑‑ I mean, this is right before the shutdown.  So it was, like, we would meet at these bars just to try and, like, get the chemistry popping early.  And so that definitely was a thing that was top of mind as far as just building the chemistry that was already built in because a lot of these folks that you are looking at now have known each other for a long time.

MATTHEW LIFSON:  Our next question comes from Lloyd Carroll, and then our final question will come from Dennis Pastorizo.  So, Lloyd, go ahead.

QUESTION:  Okay.  Phil, Dan, you guys have been talking about the wine bar.  So, I’ve got to ask this one.  How big an influence was that other bar show I remember from the 1980s, set on the East Coast, “Cheers”?  I was curious.  How much of that?  And did you have to say, “Wait a minute.  We can’t have a Norm here.  We’ve got to, kind of, make something more relevant for an urban audience.”  I’m just curious.  How big an influence was “Cheers” and to stay away from stereotypical characters, which “Cheers” sometimes got into?

PHIL AUGUSTA JACKSON:  I think “Cheers” is such an iconic show that if you were making a television show, you are aware of that show.  And whether or not there’s a wine bar or any type of bar, I think the pilot has gone down as one of the best pilots in history.  So, I think, in that way, it’s just an inspiration to look at a really great piece of writing, but I don’t think the bones or the structure of this show is super, super close to what they were, what they had going on.

DAN GOOR:  Yeah.  It was inspirational and important in that it’s inspirational and important to all TV comedy.  It’s one of the greatest legendary comedies of all time.  But I definitely agree with Phil.  This show has its own bones.  It doesn’t feel like the same kind of bar or the same kind of regulars showing up, but, obviously, it’s something we would be aware of and something we wouldn’t ever want to step on the toes of because it’s such a great show, which this show is better.  It’s better than “Friends,” “Seinfeld,” and “Cheers.”

PHIL AUGUSTA JACKSON:  Dan, what are you doing?

DAN GOOR:  Somebody is going to put that in their post and say, “This show is better than ‘Friends,’ ‘Cheers,’ and ‘Seinfeld’ combined.” And no one needs to know who said that.

PHIL AUGUSTA JACKSON:  Whoever puts that in quotes, please put, “Dan, what are you doing?” and my response.

DAN GOOR:  “Dash, a person who watched all of those shows.”  No one has to know who it was.

ECHO KELLUM:  And I would also like to say, because you, kind of, mentioned something like it’s an urban show.  It’s just a show, you know, and the cast happens to be Black folk, you know.  So just like “Cheers” ‑‑ I guess you could say it’s a white show if you want to say that.  I feel like a lot of us connected to parts of that regardless of the human aspect of it.

CARL TART:  I’m Norm.

(Laughter.)

DAN GOOR:  No, you aren’t.

NICOLE BYER:  Like the pilot of “Cheers,” you see the magic happening on this show.  And I don’t want to toot our own horn.  Is that a phrase?  I don’t know.  But, like, we have very magical chemistry that happened almost instantaneously, and I think that really comes through on the screen.  So, I think, like “Cheers,” you’ll be, like, “Oh, I’m rooting for these people.”  I think these people are interesting, they are funny, and they seem to just really have joy and love each other.  So, yeah, that’s what I wanted to add.

PHIL AUGUSTA JACKSON:  Great.  A great addition.  And I was going to say, I was a kid in the ’90s too.  So, I think you’ve got shows like “Cheers.”  You’ve got shows like “Living Single.”  I love “Sex and the City.”  I like a lot of different shows.  So, I think, as far as inspiration and energy, I just love TV, and I do have a soft spot in my heart for network television because I think, if you were born in a certain type, it really did shape your view of comedy.  And so, yes, a shout out to all of the shows that, kind of, came before this one.

MATTHEW LIFSON:  All right.  Our final question of the day comes from Dennis Pastorizo.  Dennis, go ahead.

QUESTION:  Hey.  Good afternoon, guys.  So, my question is a bit of a double question.  What was really in the wine glasses?  And what would each one of you order ‑‑

DAN GOOR:   What was the second part?

QUESTION:  ‑‑ in real life?

NICOLE BYER:  What was ‑‑

ECHO KELLUM:  Can you say the second part again.

DAN GOOR:  What would you order in real life?

QUESTION:  What would you order in real life?

AARON JENNINGS::  This is a great final question, by the way.

GRASIE MERCEDES:  We were just asked a similar question, and I realized in that moment that I don’t know what orange wine is, really, but it’s what I drink and love.  It’s, like, this new trend of natural organic wine happening, especially, I think, in Los Angeles, but I’m so down with it because it doesn’t give me a headache and I love it.  But what was in our glasses on set, everyone had something a little different.  My glass was a white wine, and it was basically colored water.  So that was not very fun.  It wasn’t very interesting.  But sometimes I had grape juice.  Sometimes I had white grape juice.

CARL TART:  My glass was diet Cran-Grape, and when I order at a bar, I order Nicki Minaj’s mixed Moscato.

(Laughter.)

NICOLE BYER:  My order is a rosé, and on set, I was hammered all the time, drinking actual rosé.

(Laughter.)

No.  I was also drinking colored water, which sounds like a slur.

ECHO KELLUM:  It does, doesn’t it?

NICOLE BYER:  Yeah.

AARON JENNINGS::  That sounds good, colored water.

MALE PANELIST:  Yeah, I would say ‑‑ go ahead, Echo.

ECHO KELLUM:  Well, the same as Carl with a diet Cran.  And on the show and at the bar, I’d probably do, like, a lambrusca [sic], which is, like, an Italian, red ‑‑

AARON JENNINGS::  Sparkling.

ECHO KELLUM:  ‑‑ sparkling red.

AARON JENNINGS::  I’m going to piggyback off of you.  I think it was diet grape, and then I feel like they transitioned to something else, but I honestly can’t say what it was.  I forget now.

GRASIE MERCEDES:  They did have nonalcoholic wine at some point.  Yeah.

CARL TART:  It was disgusting.

AARON JENNINGS::  Like, the diet cranberry, the diet grape, I couldn’t do.  So, I switched over to the nonalcoholic wine.  And then, lately, I’ve been drinking the ‑‑ is it lambrusco or lambrusca?  I thought it was lambrusco, whatever, from Northern Italy, the wine that’s sparkling.  That’s the wine that I would order as of now, as of late.

ECHO KELLUM:  And I will say Phil put me on that, just to give him all credit.

AARON JENNINGS::  Yeah, the same.  The same.

ECHO KELLUM:  Uh‑huh.  Uh‑huh.

JUSTIN CUNNINGHAM:  Yeah, it was the diet cranberry, and I think ‑‑ I don’t really drink that much anymore or almost at all, but if I do have a cocktail, it will be either an old fashioned or, for the Bond people, a Vesper.  I don’t know if you are familiar with Vesper.

NICOLE BYER:  That’s classy.

CARL TART:  I ride to the bar.  I drive a Vespa.  What are you drinking right now, Dan?  (Inaudible.)

DAN GOOR:  It depends who is paying.  If I’m being purchased wine, I would love a white Burgundy.  If people want to send me something nice, I’m available.  And then we have been having a lot of pandemic cocktails.  I really like a Boulevardier, which is like a wry ‑‑ oh, my god.  I’m totally blanking on what it is, but ‑‑ sweet vermouth and Campari.  Sorry.

CARL TART:  I drive my Vespa down the Boulevardier.

(Laughter.)

ECHO KELLUM:  I just want to say, if colored water is racist, white Burgundy has got to be racist too.

(Laughter.)

AARON JENNINGS::  That all doesn’t sound right.

DAN GOOR:  Phil, what are you drinking?

PHIL AUGUSTA JACKSON:  Okay.  So, I’ll go backwards.  Right now, I’m really on this Mexican natural wine called Bichi.  They have a really great rosé and chilled red as well as an orange wine.  And before that, there was this wine called Gibbs, but I can’t really find it anymore.  They have a really great Cabernet.  I also like Lambrusco.  And, yeah, I think that’s it.  And I also mix sparkling wines a lot, Blanc de Blanc and stuff like that.  I think I said ‑‑ I like every wine.  I just named some.

ECHO KELLUM:  And they didn’t require it to bring it on set, but he would always have ‑‑

NICOLE BYER:  Always has it.  Always drinking.

ECHO KELLUM:  Yeah.

QUESTION:  Well, thank you so much for your answers, and cheers to the new season.

AARON JENNINGS::  Cheers to all of you.  Thank you so much.

MATTHEW LIFSON:  Thank you to our “Grand Crew” panelists.  It sounds like everyone needs to go grab a glass of wine.  So, thank you so much to everyone for joining us today.  This concludes NBC’s scripted press day.  For more information, please visit our MediaVillage site at NBCUMV.com, and have a fantastic rest of your day.

MORE INFO:

"Grand Crew" cast on NBCFrom Phil Augusta Jackson (Writer/Producer/Director, “Brooklyn Nine-Nine”) and Dan Goor (Creator, “Brooklyn Nine-Nine”) comes a new comedy that proves life is better with your crew. This group of young professionals are all trying to navigate the ups and downs of life and love in Los Angeles – and they always find time to gather at their favorite bar to “wine down” and unpack it all. There’s Noah, a hopeless romantic too eager to settle down; Nicky, a go-getter in real estate who’s adventurous in romance; Sherm, a low-key genius who plays the dating odds; Anthony, whose true love is his career; Wyatt, who’s relieved to be married and out of the dating scene; and Fay, who’s recently divorced and looking to start fresh in LA. And just like wine, their friendship gets better with time.

Echo Kellum

Noah, “Grand Crew”

GRAND CREW -- Season: 1 -- Pictured: Echo Kellum as Noah -- (Photo by: Kwaku Alston/NBC)
Echo Kellum plays Noah on the new NBC comedy “Grand Crew.”

Kellum, an actor, writer and director originally from Chicago, will recur in the new FX series “The Old Man,” starring Jeff Bridges.

Previous credits include “Arrow,” “You’re the Worst,” “Drunk History,” “Comedy Bang Bang” and a recurring voiceover role on “Rick & Morty.” Still an avid improviser, Kellum performs regularly at UCB with house team Winslow.

 

 

Nicole Byer

Nicky, “Grand Crew”

GRAND CREW -- Season: 1 -- Pictured: Nicole Byer as Nicky -- (Photo by: Kwaku Alston/NBC)
Nicole Byer plays Nicky on the new NBC comedy “Grand Crew.”

An actress, comedian, writer, author and podcaster, Byer is perhaps most well-known as the host of Netflix’s Emmy Award-nominated competition baking series “Nailed It!,” which has gained a cult following of viewers since its premiere on the streaming platform in 2018. In 2020, Byer made history by becoming the first Black woman ever to be nominated in the category of Outstanding Host for a Reality or Competition Program.

Byer can also be seen co-hosting TBS’ reboot of “Wipeout,” alongside John Cena. She also voices characters in Amazon’s “Invincibles” and Adult Swim’s “Tuca & Bertie” and will voice the role of Susie Carmichael’s mom, Lucy, in the upcoming reboot of Nickelodeon’s “Rugrats,” which premieres on Paramount+.

Listeners can hear Byer on five different podcasts, the fan-favorite being “Why Won’t You Date Me?,” which sees her inviting friends and guests to discuss their dating lives all while trying to figure out her own. In 2021 the podcast moved under the TeamCoco banner and Byer won the 2021 iHeart Radio Podcast Award for best female host for the show.

Byer is an Upright Citizens Brigade alum who continues to cement her status as a force in standup by regularly performing in cities across the country. Previously, she received national attention for her web series “Pursuit of Sexiness,” which she co-created and starred in alongside friend and fellow comic Sasheer Zamata.

Her additional film and television work includes “Loosely Exactly Nicole,” “Mike and Dave Need Wedding Dates,” “Lady Dynamite,” “Party Over Here,” “BoJack Horseman” and “30 Rock.”

Byer currently resides in Los Angeles.

Grasie Mercedes

Fay, “Grand Crew”

GRAND CREW -- Season: 1 -- Pictured: Grasie Mercedes as Fay -- (Photo by: Kwaku Alston/NBC)
Grasie Mercedes plays Fay in the new NBC comedy “Grand Crew.”

Mercedes is a Dominican-American multi-hyphenate from New York City, living in Los Angeles. An actress who has appeared on shows that include “9-1-1,” “Good Trouble,” “Southland,” “The Affair” and “Criminal Minds,” she also recently wrote on NBC’s “Perfect Harmony.”

Mercedes is a former improviser and sketch comedy actor, and an alumna of both iO West and UCB. She also recently wrapped season two of her podcast “Not (Blank) Enough.”

Justin Cunningham

Wyatt, “Grand Crew”

GRAND CREW -- Season: 1 -- Pictured: Justin Cunningham as Wyatt -- (Photo by: Kwaku Alston/NBC)
Justin Cunningham plays Wyatt on the new NBC comedy “Grand Crew.”

Cunningham received his BFA in acting from the University of Arkansas. That ultimately led him to being accepted to the esteemed Drama Division at Juilliard, where he graduated with his MFA in 2017.

In 2019, Cunningham had a co-starring role for Ava DuVernay in the Netflix limited series “When They See Us,” based off the true story of the Central Park Five. Prior roles include CBS’ “Blue Bloods and HBO’s “Succession.” Shortly after graduating, Cunningham was part of the cast of “King Lear” on Broadway.

Cunningham is an avid boxer and is also a big advocate for fitness as well as mental health.

Aaron Jennings

Anthony, “Grand Crew”

GRAND CREW -- Season: 1 -- Pictured: Aaron Jennings as Anthony -- (Photo by: Kwaku Alston/NBC)
Aaron Jennings plays Anthony on the new NBC comedy “Grand Crew.”

Previously seen on CBS’ “Pure Genius” and HBO’s “Insecure,” Jennings can next be seen  recurring on the upcoming Amazon series “A League of Their Own,” based the feature film.

Jennings’ big screen debut came in 2013 with the Farrelly Brothers’ comedy “Movie 43,” opposite Terence Howard. Other credits include “Meet the Browns,” “Rizzoli & Isles,” “Vegas,” “Bones,” “Aquarius” and “Loosely Exactly Nicole.”

Jennings spent his youth training in theater and some of his stage credits include “Elmina’s Kitchen,” which won the NAACP Award for best ensemble, Matthew Lopez’s “The Whipping Man,” Athol Fugard’s “My Children! My Africa!” and “Facing Our Truth” at the Kirk Douglas Theatre in Culver City, Calif.

Dan Goor

Executive Producer, “Grand Crew”

Dan Goor is an executive producer on the new NBC comedy “Grand Crew.”

Previously, Goor was co-creator and executive producer of NBC’s Golden Globe-winning comedy series “Brooklyn Nine-Nine.” In addition to having run the show, he also wrote and directed numerous episodes.

Goor is also the co-creator of the new Peacock comedy “Killing It,” starring Craig Robinson.

Prior to working on “Brooklyn Nine-Nine,” Goor was an executive producer, writer and director on NBC’s Peabody Award-winning comedy “Parks and Recreation.”

Goor got his start writing for “The Daily Show with Jon Stewart,” for which he won an Emmy Award in 2001. He was also a writer for NBC’s “Late Night with Conan O’Brien,” where he won an Emmy in 2007.

Goor resides in Los Angeles with his wife and their two daughters.

Phil Augusta Jackson

Creator/Executive Producer, “Grand Crew”

Phil Augusta Jackson is an Emmy Award-nominated writer, producer and musical artist from Philadelphia. He is the creator and showrunner of NBC’s new half-hour comedy “Grand Crew.”

A co-executive producer of HBO’s “Insecure,” Jackson also has written for “Key & Peele,” “Survivor’s Remorse” and, most recently, “Brooklyn Nine-Nine,” where he also directed. He has been nominated for Emmy, WGA and NAACP awards and has self-produced and directed shorts and music videos.

Jackson graduated from the University of Virginia and currently resides in Los Angeles.
December 2021

Proofread and Edited by Brenda

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cast of "Grand Crew" on NBC

Interview with the cast of “American Auto”

TV Interview!

the cast of "American Auto" on NBC

Interview with the cast of “American Auto” on NBCLifetime by Suzanne 12/9/21

This is a pretty funny sitcom, and it was a lot of fun talking to the cast. This press panel had many journalists asking questions. You can see my one question a little more than halfway down the page. I wish I had gotten another question because I would have loved to have asked Harriet Dyer a question. I really loved her show “The InBetween” (2019).  What an amazing actress she is! I didn’t even recognize her as the same person in this role.

NBCUNIVERSAL

VIRTUAL PRESS TOUR

 NBC

 American Auto

 Jon Barinholtz, Talent, “Wesley”

Harriet Dyer, Talent, “Sadie”

Ana Gasteyer, Talent, “Katherine”

Humphrey Ker, Talent, “Elliot”

X Mayo, Talent, “Dori”

Michael B. Washington, Talent, “Cyrus”

Tye White, Talent, “Jack”

Justin Spitzer, Creator/Executive Producer

Virtual via Zoom

December 9, 2021

© 2021 NBCUniversal, Inc.  All rights reserved.

PAM BEER:  Hi.  It’s Pam again, and I’m here to introduce the panel for our new comedy “American Auto,” which will be sneak‑previewed on Monday, December 13th at 10:00 and 10:30 p.m., before moving to its normal time slot on Tuesday, January 4th at 8 o’clock.

From “Superstore” creator Justin Spitzer comes a new workplace comedy that takes the wheels off of the automobile industry.

Set in Detroit, the corporate executives of Payne Motors are at a crossroads:  Adapt to the changing times or be sent to the junkyard.

Shaking things up as the new CEO, her leadership, experience, and savvy is only slightly offset by her complete lack of knowledge about cars.  From the corporate to the factory floor, the crew of Payne Motors is driving home the laughs.

Here’s a look at the first season of “American Auto.”

(Clip shown.)

PAM BEER:  In the top row are executive producer Justin Spitzer, Ana Gasteyer, and Harriet Dyer.  In the second row are Michael B. Washington, Jon Barinholtz, and Tye White.  In the third row are Humphrey Ker and X Mayo.

We are now ready for your questions.

MATTHEW LIFSON:  Thank you, once again, Pam.  And welcome to our panelists.

Just a reminder to use the “raise hand” function if you want to ask a question.

And our first question comes from Mike Hughes, and Jay Bobbin will be on deck.

So, go ahead, Mike.

QUESTION:  Yeah, for Ana.  It seems like you’re in a really good streak right now.  I saw “A Clüsterfünke Christmas,” and I thought it was hilarious, and you co‑wrote it, and so forth.  And so, I wanted to ask you what this time has been like for you?  Because you got this show, apparently, pretty early last year, but then, had to wait for a long time, and now, this is coming up right after “Clüsterfünke.”  Has this just been a really good ‑‑ in other words, has the pandemic been pretty good for you?

ANA GASTEYER:  The pandemic has been fantastic for me, yeah.       I mean, you know, besides all the millions of people that have died, it’s worked really well for me.  Please don’t print that.

QUESTION:  Okay.

ANA GASTEYER:  You know, I flew to L.A., and I had my fitting for the pilot, and we were getting ready to film it when the entire world went into shutdown, and it’s been ‑‑ I mean, you know, it’s an overused word, but it really has been an incredible series with blessing on this because, honestly, we didn’t even know if it was going to go.  I just assumed ‑‑ I mean, I leaped at the opportunity.  The script was fantastic.  Justin is established, and smart, and human, and the perfect writer to, sort of, meet the times, I think, comedically, and that’s not an easy thing to do.  And, yeah, we got lucky.  We ended up making the pilot last October – 2020 — and then, picked up, and started filming in 2021.  So, it was a long, kind of, drawn‑out thing, but kind of nice, in a way, because you do these new television shows really, truly, in a bubble.  We didn’t really interact with anyone because of COVID.  We actually didn’t even really see Justin’s lower half of his face for a good couple of years.  (Justin laughs.)  And it was nice because, as a cast and a community, we, sort of, did that thing where we established a relationship via text, and over the months, kind of, checking in with one another, and by the time it came to filming, we were really friends, which was fantastic.

QUESTION:  And in the middle of that, when did you do “Clüsterfünke,” then?

ANA GASTEYER:  So, we ‑‑ by the way, thank you for honoring the umlauts and pronunciation.

(Laughter.)

We had sold that in ‑‑ Rachel and I sold it in 2019.  And so, we wrote that script right when we went into the shutdown.  So, we wrote it at the beginning, and then, the timing just worked out beautifully because we were able to film it directly prior to “American Auto,” and it just was, sort of, a confluence of good fortune that everything came out at the same time.

QUESTION:  Well, thanks.

MATTHEW LIFSON:  Our next question is from Jay Bobbin, and Valerie Malone is going to be on deck,

Jay, go for it.

QUESTION:  Thank you very much.  My question is for Harriet.

Harriet, you’ve been doing a lot of heavy‑duty drama lately, and a certain scene at a restaurant with an invisible man certainly sticks in mind.  Doing comedy at this point in time, is this, like, the possible best juncture for you to pivot from the drama you’ve been doing, to this?

HARRIET DYER:  I don’t know.  I, kind of ‑‑ when I got out of drama school in Sydney, I was doing both; whether it was theater, or TV, which, kind of, came later.  I would just hope to, kind of, do both for as long as, you know, people will allow it.  I think you can find both in both.  And I mean ‑‑ but this is a dream, to come to America and do a network comedy.  That was something I never thought would happen.  So, I mean, if I stayed in comedy now, you know, mostly, that would be very exciting to me, but I really do ‑‑ really do love drama, too.

QUESTION:  Thank you.

MATTHEW LIFSON:  Our next question comes from Valeria Malone, and Jamie Sticker is on deck.

Go ahead, Valerie.

QUESTION:  Justin, can you talk about your decision to center the series around the corporate perspective, and your decision to make it a comedy, rather than an action or drama series, please?

JUSTIN SPITZER:  I don’t know that I would know how to write an action or a drama series.  I would love that challenge, but I think I’m in comedy for now.

The genesis of this was, I pitched this show back in 2013.  I’d been on “The Office” for a long time, and I thought I’d love to do a workplace show about the corporate world, you know?  And in “The Office,” they refer to decisions made by corporate, occasionally, and I’d think, like, oh, what’s that show about, and how do those decisions get made?  And then, the following year, I did “Superstore.”  “American Auto” was in pilot at that point, so I took bits and pieces, and put them in “Superstore,” and then, every now and then, I would talk to Tracy Acosta ‑‑ who had been to the studio when we developed “American Auto” originally, and she moved over to the network, and she was always a fan of it ‑‑ about if there was ever an opportunity to redevelop it.  And so, then, when I left “Superstore,” it felt like an opportunity, and it felt like an even better time.  You know, “Superstore” is so much a show about people whose lives are dictated by corporate, and they seem like antagonists all the time, and it seemed fun to get a peek on behind the scenes of how the decisions get made, you know?  The people at corporate aren’t bad people; they’re good people doing their best to try to make the company work, and, sometimes, their decisions have bad effects on the employees, but I thought it would be fun to get to see why those decisions get made.  So, yeah, that was, sort of, the reasoning about the corporate world.

And then, the fact that it’s the auto industry, sort of, came later.  I, sort of, just wanted it to be about a big multibillion‑dollar American industry.

QUESTION:  But you feel that diversity is important to you.  Can you talk about, perhaps, how it plays out in different roles in the series?

JUSTIN SPITZER:  You know, I think – it’s always a hard thing to answer.  I think, you know, we’re all trying to be more conscious of diversity.  I think it allows you to do more kinds of stories, especially in a show like this, that deals with issues impacted by those things.  You know, it’s a satire.  You know, you guys have seen the first episode that deals with bias in tech.  And so, it gives me those opportunities.

You know, I don’t think of it so much as what can we do for social good?  You know, my job is to make a show, and make it good, but I think diversity certainly helps with that.  Maybe some of our other cast could speak to that if anyone would like to.

MICHAEL B. WASHINGTON:  Yeah.  Well, one of the things that I was drawn to so much when I first read the script, and had the opportunity to read, NBC Universal has been very kind to many of us, and they’ve taken care ‑‑ ready good care of us for many years, but they’ve always been looking for something for me to do in a more corporate structure; like, more authoritative roles.  And that’s not something that a network lets you get to read for, as an African American gentleman, let alone two, three, four, you know, people of color in executive ranks.  So, I was very drawn to the fact that Cyrus is a very smart, educated corporate executive who’s allowed to be the smartest one in the room, for good or for bad, whether he puts his foot in his mouth, or not, and all the comedy that ensues from it, and the beautiful thing about the place we’re in right now, with the world, and society, and cultural issues.  Getting to represent that so that young Black boys, young Black girls, get to see somebody in a suit be smart is not still the norm.  So, I’m very drawn to this show because of that, and getting to play with these incredible comedians, and keeping levity about it.  It’s not always hard‑hitting; it’s light and fun.  So, diversity can be a fun thing as well.

QUESTION:  Very good.  Thank you.

MATTHEW LIFSON:  Our next question is from Jamie Sticker, and Suzanne Lanoue is on deck.

Jamie, go ahead.

QUESTION:  X, I have to say, those are some hilariously funny, funny scenes with you.  How much of your work is improv?  Like, the soap scene; you bring your own soap with you.  How much of your time on “American Auto” is scripted, and how much of it is just improv?

X MAYO:  Yes.  I don’t say any lines that are written.

(Laughter.)

No, I’m kidding.  I’m kidding.  No.  I love ‑‑ first of all, this script is amazing.  But let me tell you, as someone who is an actor and an improvisor, if the script isn’t good, I do not improvise because I don’t have a place to jump off of.  There is no clear foundation.  I have nowhere to go.  So, the fact that I do play so much speaks to the quality of the writing, and the fact that they are writers, when they write that episode, they’re on there, and they’re so open to collaborate.  And I’m, like, “Hey, I wanted to try this,” and they’re, like, “Yes, go, do.  Yeah, go do that.”  And so, I really love that aspect of it.  But yeah, I mean, a lot of those words that you hear are from the script, but I do like to, like, punch up and play.  And, also, too, like, there are, like, so many amazing comedians on the show, like Humphs and JB.  Like, I just love, like, pitching jokes to them, or if I can make one of them laugh, I’m, like, “Damn.”

(Laughter.)

Sorry.  Can I cuss?

(Laughter.)

But I just did, so …

(Laughter.)

Yeah, there’s a lot of that.  There’s a lot of that where Justin always is checking, “Can X say ‘shit’ or ‘damn’?”

(Laughter.)

So, I’m just, like, “Okay.”  I’m, like, “Okay, I can do this.”  So, yeah, a lot of it ‑‑ I would say a lot of it I’ve played with, but most of what you see is, like, a mixture of me playing, and the amazing, wonderful script that we have combined.  That’s what you’ll see a lot within the show.

JUSTIN SPITZER:  Yeah.  We always like to think of, like, the jokes in the script are a safety net, you know?  It won’t get worse than that line, and to whatever extent that the actors can improve it, I always want to encourage that.  And that’s something that was very important to me, even in casting this.  You know, I’ve worked with Jon on “Superstore”; I’ve worked with Humphrey years ago on another pilot.  I knew they were amazing improvisers.  Obviously, Ana was, from her years on “SNL,” and other things.  And some of the other cast we’ve played with in the audition even a little, and I was aware of your guys’ talent, too.  So, you know, I love when the actors beat the jokes that are on the page; I love when the actors even rework the lines to make it natural in their mouth to make it the best joke, the best line.

QUESTION:  And then, Justin, we know that you’ve worked with Jon in “Superstore.”  What was it about this role that made him right for “American Auto”?

JUSTIN SPITZER:  I mean, obviously, I would work with Jon on anything.  He’s, like, aside from being a delight to work with, just hilarious.  You know, there were so many times on “Superstore,” you know, if there was a scene he was in, and it wasn’t working, and I didn’t know how to get out of it, I would say to the editor, like, “Just check through Jon’s improv, like, if he has an ad‑lib, we could, like, go in, and then, that’ll get us out of it.”  So, I wasn’t writing the role specifically for him.  It, actually, probably felt different from him on the page.

And Jon, I think we were talking ‑‑ I think it was the episode I directed of “Superstore,” and you had just recently reread the script ‑‑ that was the week it got picked up ‑‑ and you said you liked it, and it was, like, “Oh, man, I would ‑‑ if you could come aboard.”  Then, I just felt bad about taking you away from “Superstore,” potentially, and had to have the big talk with the guys over there.  But, yeah, I love Jon, and I think he’s amazing in this role.

JON BARINHOLTZ:  That’s so nice of you to say.  Yeah, I remember.  I remember reading the script that week, and it was ‑‑ it was amazing.  And I think it was, like, maybe written for, like, a little bit older of a role, but, yeah, it was ‑‑ I would jump at the opportunity ‑‑ right back at Justin ‑‑ to work with him on anything.  He’s just such a great writer, and really ‑‑ really addresses the world honestly.  And most importantly, he gives really good, wrap gifts, so…

(Laughter.)

I’m in it for the gifts.  And the scripts are secondary, for me.

HARRIET DYER:  You guys all got a car, right?

ANA GASTEYER:  I’ve got a bike.  I don’t know how to drive.

X MAYO:  I’ve got a scooter; it’s got a little bell.

JUSTIN SPITZER:  A funny little thing, also about Jon ‑‑ and this was not intentional, but on “Superstore,” he played, like, the most down‑and‑out ‑‑ like, the warehouse guy who ‑‑ like, whose car didn’t have doors, and he was homeless for a while, and now, we bring him over to this show where he is the most privileged and wealthy of all.

JON BARINHOLTZ:  Yeah.  I mean, the difference ‑‑ like, someone asked me, like, “What’s the difference between Marcus and Wesley?”  And I think the answer is 58 million dollars.

(Laughter.)

QUESTION:  Thank you all so much for your time.

ALL PANELISTS:  Thank you.

MATTHEW LIFSON:  All right.  We’re actually going to go to Steven Prusakowski next, and then, Suzanne, you will be on deck.

So, Steven, go ahead.

QUESTION:  Hey, how are you doing?  The show looks great.  I can’t wait to watch.

My question is for Ana.  I have one for Ana, and one for all.

So, you were on “SNL,” and then, it seems like you’ve been working continuously since you left the series.

What do you credit your success to, and what about “American Auto” attracted you to the series?

ANA GASTEYER:  Gosh, I don’t know what to attribute my success to.  I mean, obviously, “Saturday Night Live” is an insane launching pad, as my mother would say.  Meaning, you know, the visibility is just nuts.  I mean, you get recognized pretty quickly just for being in that cast.  And then, just, honestly, hustling a lot of different angles.  I mean, I’ve worked on Broadway; I’ve worked on television; I’ve worked, you know, wherever I can work.  And I like working, so I’ve kept my nose to the grindstone, if you will.

“American Auto” ‑‑ you know, I’ve been waiting my entire career to be in my 50s.  I’ve been waiting for this part since I was 30.  So, you know ‑‑ and frankly, 10 years ago, this role wouldn’t have existed, I don’t think.  And Justin ‑‑ or I guess he said he wrote it 10 years ago, but, I mean, within that range.  I think just the opportunity to play a female CEO was really exciting to me because I like characters who are, sort of, lost in moral dilemma, and Katherine definitely is, as Justin said.  I think she definitely personifies the aspirations to do right by the company, but maybe not always ‑‑ there can be a human sacrifice in that.  And it’s just fun.  It’s a fun gray area, comedically.

My best friend ‑‑ I told Justin this before ‑‑ has characterized the, sort of, ethos of the show as Americans being bad at being good, which I think is, kind of, really fun to play, you know?  And, yeah, so, that’s ‑‑ I think that’s ‑‑ is that your question?

QUESTION:  That’s my question.  I have to say, I spoke to Kenan today, and now you, and as a big “SNL” fan, this is a dream come true.  So, thank you so much for your time.

JON BARINHOLTZ:  And I put in three different tapes for “SNL.”  So, if you want to include someone associated with “SNL” that you’ve talked to.

(Laughter.)

QUESTION:  Now, I have that connection, too.  Thank you so much.

And one more question real quick.  Are any of you big car fans, or do you actually drive?

X MAYO:  Yeah.

QUESTION:  Or it depends on, yeah, your type of auto reliance.

HUMPHREY KER:  L.A. leaves little choice but to drive.  There is no alternative.

TYE WHITE:  Well, I’m from Michigan.  So, yeah, I’ve been driving since I was 12.

JON BARINHOLTZ:  My grandfather was one of the first used car salesmen in Chicago, because used cars are, like, a newer thing.  And then, my great, great, great grandfather on my mom’s side was Studebakers.

X MAYO:  Wow.

JON BARINHOLTZ:  This is true:  There are four Studebaker brothers, and Jacob was the one I’m a descendant of, and he was the one who thought cars weren’t going to take off, and he was, like, “I’m going to stick with farming.”

(Laughter.)

And I have the legacy of Studebakers.

ANA GASTEYER:  It was the slower Studebaker; is that what you’re saying?  You’re a descendant of the slower Studebaker.  Got it.

(Laughter.)

I live in New York City, so I, pretty much, stopped it.

MATTHEW LIFSON:  All right.  Our next question ‑‑

TYE WHITE:  Cars aren’t going to work.  I don’t see it.

(Laughter.)

MATTHEW LIFSON:  Our next question comes from Suzanne Lanoue, and Bruce Miller on deck.

So, go ahead, Suzanne.

QUESTION:  Hi.  Good morning.  Jon, my question is for you.  Your character is so unlikable.

(Laughter.)

JON BARINHOLTZ:  Thank you.

QUESTION:  I’m sorry.

UNIDENTIFIED PANELIST:  In real life.  In real life.

QUESTION:  Will we get to see him change and grow a little more this season, or show us a nicer side?

JON BARINHOLTZ:  I don’t want to give out any spoilers, but I think all the characters, as we go throughout the season, we see people exist together more and more, and it really ‑‑ yeah, I think there is growth and change in everyone, but in that really, you know, pinpointed way, where we’re always able to reset and still be the same characters that you, kind of, you know, fell in love with, whether it’s fell in love with because of who they are, or fell in love to hate them, I think we all ‑‑ we strut that line pretty well throughout the season.

JUSTIN SPITZER:  I was just going to say, I think he will become more likable.  I think, you know, as the episodes go on, you want to start people with an edge, you know, or at least I like to.  You know, I would never want to create characters that are all soft, all immediately too easily likeable.  There’s no place to go.  But, you know, I think we’ll see ‑‑ I can think of one or two, you know, moments of real vulnerability in Wesley, and when you see those moments, they give you little windows, and you empathize with them, and with all the characters, as we learn about them, we’ll grow to like all of them.

JON BARINHOLTZ:  Yeah, I just want to change my answer to what Justin just said.

(Laughter.)

So, put his voice to my mouth.

QUESTION:  Sure, I can do that.  I enjoyed the first two episodes a lot.  Thank you.

PANELISTS:  Thank you.

MATTHEW LIFSON:  Our next question comes from Bruce Miller, and Rick Hong will be on deck.

So, Bruce, go for it.

QUESTION:  This is for Jon, too.  Jon, when you’re on a big show like “Superstore,” what do you do when you’re not on camera?  Are you trying to be seen so that you can get a bigger role, or what is that process like?

JON BARINHOLTZ:  Wait.  What do you ‑‑ do you mean, like ‑‑ in what way do you mean?  Do you mean, like, literally, like, off the camera, but still in the scene, or is it, like, I’m just, like, hanging out in my trailer?

QUESTION:  Because on “Superstore,” you guys were around a lot; you could see you in the background and doing things.  And would you just try to, like, “I’ll be a little more active here, so, then, they’ll pick me to be in more scenes”?

JON BARINHOLTZ:  I would show up on days when I wasn’t even scheduled to come in, and I would come in in uniform.  No.

JUSTIN SPITZER:  You’re background for the first season, right?

JON BARINHOLTZ:  Yeah.  I just yell things.  I steal a mic and put it on me.  No, I think I know what you mean.  It’s in these big, like, ensemble shows with workplaces, I think the best thing you could do is just, kind of, exist there.  And, like “Superstore,” I think this is a world that when we were all there, we felt very much of this world.  We were in this office; we were people who worked there.  And just a testament to how good, really, everyone on the screen is, and our BG&R show is so great, and it allows a sense of ‑‑ the looseness allows a sense of play, and us to, you know, kind of, take things wherever we think they may go, as long as it’s in a place of ‑‑ coming from a place of honesty.  So, I guess, that just the long way of saying that as long as we’re playing it real, there’s no, like, fudging your way in to, like, get more lines, or anything like that, but I think there’s always an opportunity to toss a little extra something in, and, again, it’s because, like X said, that’s how good the writing is here, that it’s such a strong foundation of us to, kind of, jump off and play in.  Whether you have one line in the scene, or thirty lines in the scene, it really ‑‑ it gives that safety net.

ANA GASTEYER:  And for sure ‑‑ I’m going to jump in.  It’s not my question, but just to say that, especially NBC has developed these really ‑‑ this ethos of a workplace comedy as the sense of the ensemble and the workplace being the star, but for me, that was part of the attraction.  Like, not having to carry something so much all by myself.  I love working with other people.  So many of us come from improvisation and, you know, ensemble backgrounds, that it’s critical that you work as a team.  That’s actually what ends up being the most fun.

And I remember ‑‑ actually, not being gross and, like, mention my last credit, but I did this show called “People of Earth,” and there were these group therapy sessions.  And every year, like, the showrunner would be, like, “We’re going to try to not have as many group therapy sessions.  I know they’re long days,” and I was, like, “But that’s the best part of show.”  Like, the best part of the show is when you’re hanging with your colleagues and all improvising together.  To me, that’s, you know ‑‑ sorry.  Did I kill the fun?

X MAYO:  No.

TYE WHITE:  Never.

ANA GASTEYER:  That’s what my theater games taught me.

HARRIET DYER:  Never, Ana.

JON BARINHOLTZ:  No, but it’s true.  When you have, like ‑‑ like, on “Superstore,” I wasn’t a regular, but you had this cast of regulars that were amazing, and would allow for play to happen.  I think like ‑‑ I feel we have the same thing on our show, where we had people come in, and it would just ‑‑ they may have, like, one or two lines in the scene, but there was always the opportunity to play, and we got so much more out of ourselves, and so much more out of these people who would come in and be these phenomenal guests on our show.  So, there’s more of that that goes along with that, you know?

MATTHEW LIFSON:  Our next question is from Rick Hong, and then, our final question will be from Francine Brokaw.

So, Rick, go for it.

QUESTION:  Hello, everybody.  Well, Jon, since you brought up Chicago, I just want to say, “Whazzup?”

(Laughter.)

JON BARINHOLTZ:  Whazzup?

QUESTION:  Okay.  So, actually, for everybody.  What was it like seeing the Ponderosa from script in your mind, to going to set and seeing the thing actually built?  What is it made of?

HUMPRHEY KER:  Many different cars.

TYE WHITE:  Yeah, it was, like, a smorgasbord of different car pieces put together.  And I remember the first time I saw it, I just busted out laughing because you just have to ‑‑ when you see it, there’s no choice but to laugh.  Like, how did they assemble this vehicle?  Like, literally.  Not just in terms of the show, but in real life, what made them grab these different pieces to put this car together?  So, I just laughed, like, uncontrollably.  And the color.  The color, too.  Like, it’s such a bright red that, like, it’s usually reserved for, like, Ferraris, and things like that.  It was, like, it’s so obnoxious to put that red on that car.  Yeah, it’s so good.  It’s red.

JUSTIN SPITZER:  It was a very difficult needle to thread, that one.  I mean, on the page you’re, like, “Oh, they put together something,” and then, there’s a reveal, and it looks, like, crazy.  And then, you do it, and then, it’s got to be crazy enough to be a bad idea, and for the comedy to play, but, like, these are smart, sensible, competent people who’ve worked at a car company, or who know cars.  So, it’s true crazy, you know?  Currently, there’s acknowledgement that it’s bad, but, like, at a certain level, you’d be, like, this is insane.

(Laughter.)

So, it was hard to find that level of grounded, but still funny.  And, yeah, the set is amazing.  The guys were constructing it, and we’d go down and try to give notes.  And I know nothing about cars, so I’d be, like, “Yeah, something like that.”  And I’d look on my phone for, like, pictures, and ‑‑ I don’t know.  But, yeah, it turned out good.

QUESTION:  Congrats to you all.  Thank you so much.

PANELISTS:  Thank you.

MATTHEW LIFSON:  And our final question comes from Francine Brokaw.  Francine, go ahead.

QUESTION:  Can you hear me?

MATTHEW LIFSON:  Yes.

QUESTION:  Okay.  This has happened twice.  You’ve called on Francine, but you’ve unmuted me, and I’m Luaine Lee.  So, I’m going to go ahead and ask my question.

So, Ana, is it true you don’t know how to drive?

ANA GASTEYER:  My character doesn’t know how to drive.  I do drive, but I live in New York City, so I don’t do it a lot, and my family doesn’t like it when I do it.  Let me just say that.  And I didn’t learn to ‑‑ actually, this is even worse.  I learned to ride a bike in ‑‑ I grew up, like, in the city‑city, in Washington D.C., and I wasn’t allowed to cross the street on my bike.  So, I learned to ride a bike.  And then, I’m the one example that the adage is not true.  I forgot.  I forgot how to ride a bike.  And my husband didn’t believe me, and I got on one, and I immediately ran into a mailbox and hurt myself badly.  And then, later, I took bike‑riding classes.  So, I’m not very comfortable with things on wheels, is what I’m trying to say.

(Laughter.)

QUESTION:  Well, my question is, how did you learn to drive?  Who taught you, and what was that like?

ANA GASTEYER:  In real life?

QUESTION:  Yes.

ANA GASTEYER:  My mother taught me.  I grew up on Capitol Hill in D.C., and she taught me in rush‑hour traffic, with a clutch car, going uphill.  So, that might be why I don’t like to drive.  Let me say, she’s not great under stress.

QUESTION:  I have the same question for Michael.  How did you learn to drive, Michael?  What was it like?

MICHAEL B. WASHINGTON:  I learned to drive ‑‑ my parents were reared in Louisiana in backwoods dirt roads.  So, when I was 10 ‑‑ this is, like, right after my 10th birthday.  We went down to my grandparents’ house, and my dad put me on his lap and just said, “Start steering,” and then, he slid out from under me ‑‑ because I was, kind of, tall, so my foot hit the pedal, and I just started ‑‑ and he got terrified.  I mean, because it’s dirt roads, but there still are trees and things.  Because “Dukes of Hazard” was my favorite TV show.

(Laughter.)

And I asked him, like, “Can I just please get in the car through the window, like the Duke boys?”  And he’s, like, “No.  No, you’ll ruin the paint.”  So, I learned to drive after, you know, my 10th birthday.

HUMPRHEY KER:  Is that why you still have a Confederate flag in your trailer?

(Laughter.)

MICHAEL B. WASHINGTON:  Oh, that’s what we call British humor.

ANA GASTEYER:  That’s British humor.

MICHAEL B. WASHINGTON:  And I deal with that 13 hours a day.

ANA GASTEYER:  It means something different over there.  It means something different.

HUMPRHEY KER:  It’s very different.  It’s a very different ‑‑

ANA GASTEYER:  It’s a popular pub sign.  That’s it, right?

(Laughter.)

HUMPRHEY KER:  I saw Michael’s trailer door open, and there it was.

(Laughter.)

QUESTION:  Thank you.

MATTHEW LIFSON:  Thank you.  If Francine wants to ask a question ‑‑ I feel bad.

ANA GASTEYER:  Francine, Francine, Francine.

HARRIET DYER:  Francine.

MATTHEW LIFSON:  We’ll have to get to the bottom of that on our end.  But thank you to our panelists.  That concludes our session for “American Auto.”  We’ll take a short break, and get back up at 11:30 with SYFY’s “Astrid & Lilly Save the World.”

Here is the audio version of it.

Interview Transcribed by Jamie of http://www.scifivision.com

MORE INFO:

American Auto

"American Auto" castPreviews: Monday, Dec. 13 on NBC (10-10:30 and 10:30-11 p.m. ET); Moves to Tuesdays (8-8:30 p.m. ET) beginning Jan. 4

From the creator of “Superstore” comes a new workplace comedy that takes the wheels off the automobile industry. Set in Detroit, the corporate executives of Payne Motors are at a crossroads: adapt to the changing times or be sent to the junkyard. Shaking things up is the new CEO, whose leadership, experience and savvy is only slightly offset by her complete lack of knowledge about cars. Luckily, her team has some of the best minds in the business – when they aren’t fighting or trying to outwit each other. From the corporate office to the factory floor, the crew of Payne Motors is driving home the laughs.

The cast includes Ana Gasteyer, Harriet Dyer, Jon Barinholtz, Humphrey Ker, Michael B. Washington, Tye White and X Mayo.

Justin Spitzer (“Superstore”) will write and executive produce. Jeff Blitz will direct and executive produce the pilot episode. Aaron Kaplan and Dana Honor will executive produce.

“American Auto” is produced by Universal Television, a division of Universal Studio Group, in association with Spitzer Holding Company, Kapital Entertainment.

Ana Gasteyer

Katherine, “American Auto

AMERICAN AUTO -- Season: 1 -- Pictured: Ana Gasteyer as Katherine Hastings -- (Photo by: Chris Haston/NBC)
Ana Gasteyer plays Katherine on the new NBC comedy “American Auto.”

During her six years on “Saturday Night Live,” Gasteyer created several iconic characters, including middle school music teacher Bobbie Moughan-Culp, NPR radio host Margaret Jo, Lilith Fair poetess Cinder Calhoun, as well as spot-on impressions of Martha Stewart, Celine Dion and Hillary Clinton.

This holiday season Comedy Central will premiere “A Clüsterfünke Christmas,” which Gasteyer and fellow “SNL” alum Rachel Dratch wrote, executive produced and star. The special is a parody of the corny and ubiquitous traditional holiday TV movie. Previous TV credits include “The Goldbergs,” “Lady Dynamite, “People of Earth,” “Suburgatory and “Curb Your Enthusiasm.”

On stage, Gasteyer has starred on Broadway in “Wicked” “The Rocky Horror Picture Show,” “The Royal Family” and “Three Penny Opera.” Other stage credits include “Funny Girl” and “Passion” at the Chicago Shakespeare Theater, which earned her a Jefferson Award nomination. At the Hollywood Bowl, she played Miss Hannigan in the musical “Annie.”

Gasteyer is also a highly accomplished singer and songwriter. This winter she’ll embark on a Christmas tour in support of “Sugar and Booze,” her recent album of seasonal favorites and holiday originals.

Gasteyer attended Northwestern University and honed her comedy skills at the Groundlings in Los Angeles. She resides on the East Coast with her husband, children and rescue pup, Gloria.

Harriet Dyer

Sadie, “American Auto”

AMERICAN AUTO -- Season: 1 -- Pictured: Harriet Dyer as Sadie -- (Photo by: Chris Haston/NBC)
Harriet Dyer stars as Sadie on the new NBC comedy ”American Auto.”

Dyer most recently starred in the NBC drama series “The Inbetween,” appeared in the sec-ond season of the CBS’ All Access comedy “No Activity” and co-starred in the feature film “The Invisible Man,” opposite Elizabeth Moss.

A native of Australia, Dyer’s other television credits include local series “The Other Guy,” “No Activity,” “The Letdown,” “Kiki & Kitty,” “Black Comedy,” “Rake,” “Janet King” and “Love Child.” She’s earned her a Logie Award nomination for Most Outstanding Supporting Actress and two 2015 Logie Award nominations as well as the Graham Kennedy Award for Most Out-standing Newcomer and the Most Popular New Talent Award. Dyer has also received an AACTA Award nomination for Best Supporting Actress in a Television Drama.

Dyer’s film credits include “Killing Ground,” which premiered at the 2016 Melbourne Interna-tional Film Festival and screened at the 2017 Sundance Film Festival; “Down Under,” which premiered at the 2016 Sydney Film Festival; and “Ruben Guthrie,” which opened the 2015 Sydney Film Festival.

Harriet has also appeared on stage in “A Flea in Her Ear,” “Hay Fever,” “Travelling North,” “Machinal” and “Pygmalion” for the Sydney Theatre Company; “Brisbane” for the Queens-land Theatre Company; “Peter Pan” for Belvoir; “Time Stands Still” for the Darlinghurst Thea-tre; “Suddenly Last Summer” for the National Art School; and “The School for Wives” for the Bell Shakespeare Company. In 2013, she made her Broadway debut in “Peter Pan” at New York’s New Victory Theatre.

Dyer received the Sydney Theatre Award for Best Performance in a Leading Role in a Main-stage Production for her performance in “Machinal” with the Sydney Theatre Company, and was nominated for the same award for her role in “The School for Wives” for the Bell Shake-speare Company.

She graduated from the Actors Centre Australia in 2011.

Michael Benjamin Washington

Cyrus, “American Auto”

AMERICAN AUTO -- Season: 1 -- Pictured: Michael Benjamin Washington as Cyrus -- (Photo by: Chris Haston/NBC)
Michael Benjamin Washington stars as Cyrus on the new NBC comedy “American Auto.”

Washington most recently reprised his role of Bernard from the Tony Award-winning revival of “The Boys in the Band” in Netflix’s feature adaptation. He can previously be seen opposite Cynthia Nixon in Ryan Murphy’s “Ratched” and has had roles in “30 Rock” and “Unbreakable Kimmy Schmidt.”

On stage, Washington wowed audiences and critics in 2019 with a tour-de-force performance playing 25 different characters in the revival of Anna Deavere Smith’s landmark 1992 one-person show, “Fires in the Mirror.” He also wrote and starred in “Blueprints to Freedom: An Ode to Bayard Rustin,” which premiered regionally at La Jolla Playhouse and KC Rep in 2015.

X  Mayo

Dori, “American Auto”

AMERICAN AUTO -- Season: 1 -- Pictured: X Mayo as Dori -- (Photo by: Chris Haston/NBC)
X Mayo stars as Dori on the new NBC comedy “American Auto.”

She is an Emmy Award-nominated actor, writer, producer and comedian known for her work on “The Daily Show with Trevor Noah.” Her other credits include supporting roles in Amazon’s “Yearly Departed” and the dramatic feature “The Farewell.”

Mayo is also the creator and host of “Who Made the Potato Salad?,” a sketch comedy show/party starring BIPOC creatives and talent.

 

 

Jon Barinholtz

Wesley, “American Auto”

AMERICAN AUTO -- Season: 1 -- Pictured: Jon Barinholtz as Wesley -- (Photo by: Chris Haston/NBC)
Jon Barinholtz plays Wesley on the new NBC comedy “American Auto.”

Barinholtz is an actor and improvisor born and raised in Chicago, and a proud alum of the Second City Conservatory, iO, the Annoyance Theater and Steppenwolf Theater.

He is the creator, writer and voice on Netflix’s animated series “Chicago Party Aunt.” Previously, he was in the cast of NBC’s “Superstore.” Other credits include “Veep,” “With Bob and David,” “The Mindy Project,” “Key and Peele,” “New Girl,” “Parks and Recreation,” “Happy Endings” and the indie feature “The Oath,” co-starring Tiffany Haddish, John Cho, Meredith Hagner and Ike Barinholtz.

Tye White

Jack, “American Auto”

AMERICAN AUTO -- Season: 1 -- Pictured: Tye White as Jack -- (Photo by: Chris Haston/NBC)
Tye White stars as Jack in the new NBC upcoming comedy “American Auto.”

White is best known for his role as Kevin Satterlee on OWN’s hit series “Greeneleaf.” Other TV credits include “NCIS: Los Angeles,” “Chicago Fire” and “American Crime Story.”

He hails from Detroit and resides in Los Angeles.

 

 

Justin Spitzer

Executive Producer, “American Auto”

Justin Spitzer is the creator and executive producer of the NBC comedy series “American Auto.” Prior to that, he created and executive produced “Superstore,” which ran on NBC for six seasons, wrapping in 2021.

His other credits include seven seasons writing for and producing the NBC comedy “The Office,” as well as stints on “Scrubs,” “Committed,” “Courting Alex” and “Mulaney.”

He resides in Los Angeles with his wife, Jenna Bans, and daughters Lucy and Phoebe.

Proofread and Edited by Brenda

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scene from "American Auto" on NBC

Review of “Ghosts”

TV Review!

The cast of "Ghosts" on CBS

“Ghosts” on CBS Review by Suzanne 10/10/21

I really want to love this show, but it’s just not funny enough for me. This is based on a British show of the same name, which you watch on HBO Max and Daily Motion. Frankly, I find the British one a little funnier. Neither one is hilarious, though. To me, the main goal of a sitcom is to make me laugh. If I just sit here and smile, or chuckle occasionally, that’s not good enough. It’s not worth my time.

Rose McIver (“iZombie”) plays Samantha, and Utkarsh Ambudkar plays her husband, Jay. She inherits a big old house, so they decide to invest all of their money into fixing it up and making it into a bed and breakfast. Unbeknownst to Sam and Jay, the house is haunted by many ghosts from the past. When Sam hits her head, she can suddenly see and hear the ghosts. They become very annoying to her and her husband.

I do like shows about supernatural creatures, so that’s why I really wanted to like it. I like the characters, too. One ghost, Hetty, is a Victorian older woman (played by the marvelous Rebecca Wisocky). The ghost that stands out the most is Thorfin, a Viking (Devan Chandler Long). In the UK version, he was a caveman. This version of the show has a native American, Sasappis (Román Zaragoza), who seems very interesting. I want to learn more about them, and that’s the main reason I added it to my DVR.

I’m crossing my fingers that it gets funnier as it goes along.

MORE INFORMATION:

GHOSTS is a single-camera comedy about Samantha and Jay, a cheerful freelance journalist and up-and-coming chef from the city, respectively, who throw both caution and money to the wind when they decide to convert a huge rundown country estate they inherited into a bed & breakfast—only to find it’s inhabited by the many spirits of deceased residents who now call it home. The departed souls are a close-knit, eclectic group that includes a saucy Prohibition-era lounge singer (Danielle Pinnock); a pompous 1700’s Militiaman (Brandon Scott Jones); a ‘60s hippie fond of hallucinogens (Sheila Carrasco); an overly upbeat ‘80s scout troop leader (Richie Moriarty); a cod-obsessed Viking explorer from 1009 (Devon Chandler Long); a slick ‘90s finance bro (Asher Grodman); a sarcastic and witty Native from the 1500s (Román Zaragoza); and a society woman and wife of an 1800’s robber baron who is Samantha’s ancestor (Rebecca Wisocky), to name a few. If the spirits were anxious about the commotion a renovation and B&B will create in their home, it’s nothing compared to when they realize Samantha is the first live person who can see and hear them.

 

Premiered Thursday, Oct. 7 on the CBS Television Network and available to stream live and on demand on the CBS app and Paramount+.

ON AIR:

Thursday (9:00-9:30 PM, ET/PT)

ORIGINATION:

Montreal

FORMAT:

Comedy (Filmed in HD)

STARRING:

Rose McIver (Samantha)
  Utkarsh Ambudkar (Jay)
  Brandon Scott Jones (Isaac)
  Richie Moriarty (Pete)
  Danielle Pinnock (Alberta)
  Asher Grodman (Trevor)
  Román Zaragoza (Sasappis)
  Sheila Carrasco (Flower)
  Rebecca Wisocky (Hetty)
  Devan Chandler Long (Thorfinn)

PRODUCED BY:

CBS Studios in association with Lionsgate Television and BBC Studios’ Los Angeles production arm.
EXECUTIVE PRODUCERS: Joe Port & Joe Wiseman, Mathew Baynton, Jim Howick, Simon Farnaby, Laurence Rickard, Ben Willbond and Martha Howe-Douglas; Alison Carpenter, Debra Hayward, and Alison Owen (Monumental Television); Angie Stephenson (BBC Studios); and Trent O’Donnell (pilot only)

Website: https://www.cbs.com/shows/ghosts/

CBS PR Twitter: https://twitter.com/CBSTweet

Facebook: https://www.facebook.com/GhostsCBS/

Proofread and Edited by Brenda

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The opinions in these articles are those of the writer and do not necessarily reflect the opinions of The TV MegaSite or its other volunteers.

The cast of "Ghosts" on CBS

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Family Guy Characters

Character Descriptions

Family Guy characters

 

Peter Griffin bioPeter Griffin is the head of the Griffin family of Quahog, Rhode Island. He is a working class guy… not very mature or bright.   He often runs off on some wild chase or scheme.  He loves beer and hanging out with his friends at the local bar, The Drunken Clam.

 

 

 

Lois Griffin bioLois Griffin is married to Peter and the mom of their kids. She has a little more common sense than he does, but she’s not a very warm person (especially when it comes to her kids). She and Peter bicker a lot but love each other.

 

 

 

Meg Griffin bioMeg Griffin is the oldest child. No one seems to like her (including her family). Her family bullies or ignores her. She’s a bit odd and definitely “a nerd.” Sometimes the family jokes that she’ll be a lesbian in the future.

 

 

 

Chris Griffin bioChris Griffin is a teenaged boy. He’s not very smart and seems emotionally stunted. He’s obsessed with girls, like most teens. Sometimes he speaks as if he’s actually a lot smarter. He loves to play video games.

 

 

 

Stewie Griffin bioStewie Griffin is the baby of the family, but he’s really an evil genius. There are many jokes about him being gay (and in the closet).  Sometimes he acts like a regular child, and other times he seems very far advanced. He has most of the best jokes on the show. Brian is his best friend. They have adventures together. Stewie likes to try to kill his mom and also build time machines.

 

Brian bioBrian is the family dog, but he can speak and is fairly smart (not as smart as he thinks he is). He likes to read (or at least, pretend to read), write and sip Champagne. He dates humans as well as dogs.  He tries to keep Stewie out of trouble. Brian has a big crush on Lois but is also Peter’s best friend (and Stewie’s as well).  He and Quagmire hate each other.

 

 

Joe Swanson bioJoe Swanson is Peter’s next door neighbor. He’s in a wheelchair but is also a police officer.  He has an offbeat sense of humor and is usually cheery not matter what. He, Peter, Quagmire and Cleveland hang out at the local bar. He’s married to a woman, Bonnie, that doesn’t treat him very well.

 

 

Glenn Quagmire bioGlenn Quagmire is Peter’s other next door neighbor. He’s a pilot who’s obsessed with sex and bedding as many women as he can. Like Brian, he has a huge crush on Lois. He and Brian hate each other. He thinks Brian is a big phony. His favorite sayings are “all right” and “giggity giggity.”

 

 

Cleveland bioCleveland Brown lives across the street from Peter. Whenever there’s a terrible thing that happens in the neighborhood, Cleveland’s house is usually destroyed, with him in the bathtub and falling out of the house. He’s a mail carrier. His wife is Loretta, and they have two children. There was a spinoff of his family, “The Cleveland Show.”

 

Family Guy

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Family Guy Episode List

List of Episodes

Family Guy

Season 1

1. 1-1 31 January 1999 “Death Has a Shadow”
2. 1-2 11 April 1999 “I Never Met the Dead Man”
3. 1-3 18 April 1999 “Chitty Chitty Death Bang”
4. 1-4 25 April 1999 “Mind Over Murder”
5. 1-5 02 May 1999 “A Hero Sits Next Door”
6. 1-6 09 May 1999 “The Son Also Draws”
7. 1-7 16 May 1999 “Brian: Portrait of a Dog”

Season 2

8. 2-1 23 September 1999 “Peter, Peter, Caviar Eater”
9. 2-2 30 September 1999 “Holy Crap”
10. 2-3 26 December 1999 “DaBoom”
11. 2-4 07 March 2000 “Brian in Love”
12. 2-5 14 March 2000 “Love Thy Trophy”
13. 2-6 21 March 2000 “Death is a Bitch”
14. 2-7 28 March 2000 “The King is Dead”
15. 2-8 28 March 2000 “I Am Peter, Hear Me Roar”
16. 2-9 04 April 2000 “If I’m Dyin’ I’m Lyin'”
17. 2-10 11 April 2000 “Running Mates”
18. 2-11 18 April 2000 “A Picture’s Worth a Thousand Bucks”
19. 2-12 25 April 2000 “Fifteen Minutes of Shame”
20. 2-13 30 May 2000 “Road to Rhode Island”
21. 2-14 06 June 2000 “Let’s Go to the Hop”
22. 2-15 13 June 2000 “Dammit Janet”
23. 2-16 27 June 2000 “There’s Something About Paulie”
24. 2-17 27 June 2000 “He’s Too Sexy for His Fat”
25. 2-18 12 July 2000 “E. Peterbus Unum”
26. 2-19 18 July 2000 “The Story on Page One”
27. 2-20 25 July 2000 “Wasted Talent”
28. 2-21 01 August 2000 “Fore, Father”

Season 3

29. 3-1 11 July 2001 “The Thin White Line”
30. 3-2 18 July 2001 “Brian Does Hollywood”
31. 3-3 25 July 2001 “Mr. Griffin Goes to Washington”
32. 3-4 01 August 2001 “One If by Clam, Two If by Sea”
33. 3-5 08 August 2001 “And the Wiener is…”
34. 3-6 15 August 2001 “Death Lives”
35. 3-7 22 August 2001 “Lethal Weapons”
36. 3-8 29 August 2001 “The Kiss Seen Around the World”
37. 3-9 05 September 2001 “Mr. Saturday Knight”
38. 3-10 19 September 2001 “Fish Out of Water”
39. 3-11 08 November 2001 “Emission Impossible”
40. 3-12 15 November 2001 “To Love and Die in Dixie”
41. 3-13 29 November 2001 “Screwed the Pooch”
42. 3-14 06 December 2001 “Peter Griffin: Husband, Father…Brother?”
43. 3-15 20 December 2001 “Ready, Willing, and Disabled”
44. 3-16 21 December 2001 “A Very Special Family Guy Freakin’ Christmas”
45. 3-17 17 January 2002 “Brian Wallows and Peter’s Swallows”
46. 3-18 24 January 2002 “From Method to Madness”
47. 3-19 31 January 2002 “Stuck Together, Torn Apart”
48. 3-20 07 February 2002 “Road to Europe”
49. 3-21 14 February 2002 “Family Guy Viewer Mail (1)”
50. 3-22 10 December 2004 “When You Wish Upon a Weinstein”

Season 4

51. 4-1 01 May 2005 “North by North Quahog”
52. 4-2 08 May 2005 “Fast Times at Buddy Cianci Jr. High”
53. 4-3 15 May 2005 “Blind Ambition”
54. 4-4 05 June 2005 “Don’t Make Me Over”
55. 4-5 12 June 2005 “The Cleveland-Loretta Quagmire”
56. 4-6 19 June 2005 “Petarded”
57. 4-7 26 June 2005 “Brian the Bachelor”
58. 4-8 10 July 2005 “8 Simple Rules for Buying My Teenage Daughter”
59. 4-9 17 July 2005 “Breaking Out is Hard to Do”
60. 4-10 24 July 2005 “Model Misbehavior”
61. 4-11 11 September 2005 “Peter’s Got Woods”
62. 4-12 18 September 2005 “The Perfect Castaway”
63. 4-13 25 September 2005 “Jungle Love”
64. 4-14 06 November 2005 “PTV”
65. 4-15 13 November 2005 “Brian Goes Back to College”
66. 4-16 20 November 2005 “The Courtship of Stewie’s Father”
67. 4-17 27 November 2005 “The Fat Guy Strangler”
68. 4-18 18 December 2005 “The Father, The Son and the Holy Fonz”
69. 4-19 08 January 2006 “Brian Sings and Swings”
70. 4-20 29 January 2006 “Patriot Games”
71. 4-21 12 March 2006 “I Take Thee, Quagmire”
72. 4-22 26 March 2006 “Sibling Rivalry”
73. 4-23 09 April 2006 “Deep Throats”
74. 4-24 23 April 2006 “Peterotica”
75. 4-25 30 April 2006 “You May Kiss the…Uh…Guy Who Receives”
76. 4-26 07 May 2006 “Petergeist”
77. 4-27 14 May 2006 “Untitled Griffin Family History”
78. 4-28 21 May 2006 “Stewie B. Goode”
79. 4-29 21 May 2006 “Bango Was His Name Oh!”
80. 4-30 21 May 2006 “Stu & Stewie’s Excellent Adventure”

Season 5

81. 5-1 10 September 2006 “Stewie Loves Lois”
82. 5-2 17 September 2006 “Mother Tucker”
83. 5-3 24 September 2006 “Hell Comes to Quahog”
84. 5-4 05 November 2006 “Saving Private Brian”
85. 5-5 12 November 2006 “Whistle While Your Wife Works”
86. 5-6 19 November 2006 “Prick Up Your Ears”
87. 5-7 26 November 2006 “Chick Cancer”
88. 5-8 17 December 2006 “Barely Legal”
89. 5-9 28 January 2007 “Road to Rupert”
90. 5-10 11 February 2007 “Peter’s Two Dads”
91. 5-11 18 February 2007 “The Tan Aquatic with Steve Zissou”
92. 5-12 04 March 2007 “Airport ’07”
93. 5-13 11 March 2007 “Bill and Peter’s Bogus Adventure”
94. 5-14 25 March 2007 “No Meals on Wheels”
95. 5-15 29 April 2007 “Boys Do Cry”
96. 5-16 06 May 2007 “No Chris Left Behind”
97. 5-17 13 May 2007 “It Takes a Village Idiot, and I Married One”
98. 5-18 20 May 2007 “Meet the Quagmires”

Season 6
99. 6-1 23 September 2007 “Blue Harvest (60 min)”
100. 6-2 30 September 2007 “Movin’ Out”
101. 6-3 07 October 2007 “Believe It or Not, Joe’s Walking on Air”
102. 6-4 04 November 2007 “Stewie Kills Lois”
103. 6-5 11 November 2007 “Lois Kills Stewie”
104. 6-6 18 November 2007 “Padre de Familia”
105. 6-7 25 November 2007 “Peter’s Daughter”
106. 6-8 13 January 2008 “McStroke”
107. 6-9 17 February 2008 “Back to the Woods”
108. 6-10 02 March 2008 “Play It Again, Brian”
109. 6-11 27 April 2008 “The Former Life of Brian”
110. 6-12 04 May 2008 “Long John Peter”

Season 7

111. 7-1 28 September 2008 “Love Blactually”
112. 7-2 05 October 2008 “I Dream of Jesus”
113. 7-3 19 October 2008 “Road to Germany”
114. 7-4 02 November 2008 “Baby Not on Board”
115. 7-5 09 November 2008 “The Man with Two Brians”
116. 7-6 16 November 2008 “Tales of a Third Grade Nothing”
117. 7-7 15 February 2009 “Ocean’s Three and a Half”
118. 7-8 08 March 2009 “Family Gay”
119. 7-9 15 March 2009 “The Juice is Loose!”
120. 7-10 22 March 2009 “FOX-y Lady”
121. 7-11 29 March 2009 “Not All Dogs Go to Heaven”
122. 7-12 19 April 2009 “420”
123. 7-13 26 April 2009 “Stew-Roids”
124. 7-14 03 May 2009 “We Love You Conrad”
125. 7-15 10 May 2009 “Three Kings”
126. 7-16 17 May 2009 “Peter’s Progress”

Season 8

127. 8-1 27 September 2009 “Road to the Multiverse”
128. 8-2 04 October 2009 “Family Goy”
129. 8-3 11 October 2009 “Spies Reminiscent of Us”
130. 8-4 08 November 2009 “Brian’s Got a Brand New Bag”
131. 8-5 08 November 2009 “Hannah Banana”
132. 8-6 15 November 2009 “Quagmire’s Baby”
133. 8-7 22 November 2009 “Jerome is the New Black”
134. 8-8 29 November 2009 “Dog Gone”
135. 8-9 13 December 2009 “Business Guy”
136. 8-10 03 January 2010 “Big Man on Hippocampus”
137. 8-11 31 January 2010 “Dial Meg for Murder”
138. 8-12 14 February 2010 “Extra Large Medium”
139. 8-13 14 March 2010 “Go, Stewie, Go!”
140. 8-14 21 March 2010 “Peter-assment”
141. 8-15 28 March 2010 “Brian Griffin’s House of Payne”
142. 8-16 11 April 2010 “April in Quahog”
143. 8-17 02 May 2010 “Brian & Stewie”
144. 8-18 09 May 2010 “Quagmire’s Dad”
145. 8-19 16 May 2010 “The Splendid Source”
146. 8-20 23 May 2010 “Something, Something, Something, Dark Side” (60 min)
147. 8-21 20 June 2010 “Partial Terms of Endearment”

Season 9

148. 9-1 26 September 2010 “And Then There Were Fewer”
149. 9-2 03 October 2010 “Excellence in Broadcasting”
150. 9-3 10 October 2010 “Welcome Back, Carter”
151. 9-4 07 November 2010 “Halloween on Spooner Street”
152. 9-5 14 November 2010 “Baby, You Knock Me Out”
153. 9-6 21 November 2010 “Brian Writes a Bestseller”
154. 9-7 12 December 2010 “Road to the North Pole”
155. 9-8 09 January 2011 “New Kidney in Town”
156. 9-9 16 January 2011 “And I’m Joyce Kinney”
157. 9-10 13 February 2011 “Friends of Peter G”
158. 9-11 20 February 2011 “German Guy”
159. 9-12 06 March 2011 “The Hand That Rocks the Wheelchair”
160. 9-13 20 March 2011 “Trading Places”
161. 9-14 10 April 2011 “Tiegs for Two”
162. 9-15 17 April 2011 “Brothers & Sisters”
163. 9-16 08 May 2011 “The Big Bang Theory”
164. 9-17 15 May 2011 “Foreign Affairs”
165. 9-18 22 May 2011 “It’s a Trap!” (60 min)

Season 10
166. 10-1 25 September 2011 “Lottery Fever”
167. 10-2 02 October 2011 “Seahorse Seashell Party”
168. 10-3 30 October 2011 “Screams of Silence: The Story of Brenda Q”
169. 10-4 06 November 2011 “Stewie Goes for a Drive”
170. 10-5 13 November 2011 “Back to the Pilot”
171. 10-6 20 November 2011 “Thanksgiving”
172. 10-7 27 November 2011 “Amish Guy”
173. 10-8 04 December 2011 “Cool Hand Peter”
174. 10-9 11 December 2011 “Grumpy Old Man”
175. 10-10 08 January 2012 “Quagmire & Meg”
176. 10-11 15 January 2012 “The Blind Side”
177. 10-12 29 January 2012 “Livin’ on a Prayer”
178. 10-13 12 February 2012 “Tom Tucker: The Man and His Dream”
179. 10-14 19 February 2012 “Be Careful What You Fish For”
180. 10-15 04 March 2012 “Burning Down the Bayit”
181. 10-16 11 March 2012 “Killer Queen”
182. 10-17 18 March 2012 “Forget-Me-Not”
183. 10-18 01 April 2012 “You Can’t Do That on Television, Peter”
184. 10-19 29 April 2012 “Mr. and Mrs. Stewie”
185. 10-20 06 May 2012 “Leggo My Meg-O”
186. 10-21 13 May 2012 “Tea Peter”
187. 10-22 20 May 2012 “Family Guy Viewer Mail (2)”
188. 10-23 20 May 2012 “Internal Affairs”

Season 11
189. 11-1 30 September 2012 “Into Fat Air”
190. 11-2 07 October 2012 “Ratings Guy”
191. 11-3 04 November 2012 “The Old Man & the Big ‘C'”
192. 11-4 11 November 2012 “Yug Ylimaf”
193. 11-5 18 November 2012 “Joe’s Revenge”
194. 11-6 25 November 2012 “Lois Comes Out of Her Shell”
195. 11-7 09 December 2012 “Friends Without Benefits”
196. 11-8 23 December 2012 “Jesus, Mary & Joseph”
197. 11-9 06 January 2013 “Space Cadet”
198. 11-10 13 January 2013 “Brian’s Play”
199. 11-11 27 January 2013 “The Giggity Wife”
200. 11-12 10 February 2013 “Valentine’s Day in Quahog”
201. 11-13 17 February 2013 “Chris Cross”
202. 11-14 10 March 2013 “Call Girl”
203. 11-15 17 March 2013 “Turban Cowboy”
204. 11-16 24 March 2013 “12 and a Half Angry Men”
205. 11-17 14 April 2013 “Bigfat”
206. 11-18 28 April 2013 “Total Recall”
207. 11-19 05 May 2013 “Save the Clam”
208. 11-20 12 May 2013 “Farmer Guy”
209. 11-21 19 May 2013 “Roads to Vegas”
210. 11-22 19 May 2013 “No Country Club for Old Men”

Season 12
211. 12-1 29 September 2013 “Finders Keepers”
212. 12-2 06 October 2013 “Vestigial Peter”
213. 12-3 03 November 2013 “Quagmire’s Quagmire”
214. 12-4 10 November 2013 “A Fistful of Meg”
215. 12-5 17 November 2013 “Boopa-dee Bappa-dee”
216. 12-6 24 November 2013 “Life of Brian”
217. 12-7 08 December 2013 “Into Harmony’s Way”
218. 12-8 15 December 2013 “Christmas Guy”
219. 12-9 05 January 2014 “Peter Problems”
220. 12-10 12 January 2014 “Grimm Job”
221. 12-11 26 January 2014 “Brian’s a Bad Father”
222. 12-12 09 March 2014 “Mom’s the Word”
223. 12-13 16 March 2014 “3 Acts of God”
224. 12-14 23 March 2014 “Fresh Heir”
225. 12-15 30 March 2014 “Secondhand Spoke”
226. 12-16 06 April 2014 “Herpe the Love Sore”
227. 12-17 13 April 2014 “The Most Interesting Man in the World”
228. 12-18 27 April 2014 “Baby Got Black”
229. 12-19 04 May 2014 “Meg Stinks!”
230. 12-20 11 May 2014 “He’s Bla-ack!”
231. 12-21 18 May 2014 “Chap Stewie”

Season 13
232. 13-1 28 September 2014 “The Simpsons Guy” (60 min)
233. 13-2 05 October 2014 “The Book of Joe”
234. 13-3 19 October 2014 “Baking Bad”
235. 13-4 09 November 2014 “Brian the Closer”
236. 13-5 16 November 2014 “Turkey Guys”
237. 13-6 07 December 2014 “The 2000-Year-Old Virgin”
238. 13-7 04 January 2015 “Stewie, Chris & Brian’s Excellent Adventure”
239. 13-8 11 January 2015 “Our Idiot Brian”
240. 13-9 25 January 2015 “This Little Piggy”
241. 13-10 08 February 2015 “Quagmire’s Mom”
242. 13-11 15 February 2015 “Encyclopedia Griffin”
243. 13-12 08 March 2015 “Stewie is Enceinte”
244. 13-13 15 March 2015 “Dr. C and the Women”
245. 13-14 12 April 2015 “#JOLO”
246. 13-15 19 April 2015 “Once Bitten”
247. 13-16 26 April 2015 “Roasted Guy”
248. 13-17 03 May 2015 “Fighting Irish”
249. 13-18 17 May 2015 “Take My Wife”

Season 14
250. 14-1 27 September 2015 “Pilling Them Softly”
251. 14-2 04 October 2015 “Papa Has a Rollin’ Son”
252. 14-3 11 October 2015 “Guy, Robot”
253. 14-4 25 October 2015 “Peternormal Activity”
254. 14-5 08 November 2015 “Peter, Chris, & Brian”
255. 14-6 15 November 2015 “Peter’s Sister”
256. 14-7 22 November 2015 “Hot Pocket-Dial”
257. 14-8 06 December 2015 “Brokeback Swanson”
258. 14-9 13 December 2015 “A Shot in the Dark”
259. 14-10 03 January 2016 “Candy, Quahog Marshmallow”
260. 14-11 10 January 2016 “The Peanut Butter Kid”
261. 14-12 17 January 2016 “Scammed Yankees”
262. 14-13 14 February 2016 “An App a Day”
263. 14-14 21 February 2016 “Underage Peter”
264. 14-15 06 March 2016 “A Lot Going on Upstairs”
265. 14-16 13 March 2016 “The Heartbreak Dog”
266. 14-17 17 April 2016 “Take a Letter”
267. 14-18 08 May 2016 “The New Adventures of Old Tom”
268. 14-19 15 May 2016 “Run, Chris, Run”
269. 14-20 22 May 2016 “Road to India”

Season 15
270. 15-1 25 September 2016 “The Boys in the Band”
271. 15-2 02 October 2016 “Bookie of the Year”
272. 15-3 16 October 2016 “American Gigg-olo”
273. 15-4 23 October 2016 “Inside Family Guy”
274. 15-5 06 November 2016 “Chris Has Got a Date, Date, Date, Date, Date”
275. 15-6 13 November 2016 “Hot Shots”
276. 15-7 20 November 2016 “High School English”
277. 15-8 04 December 2016 “Carter and Tricia”
278. 15-9 11 December 2016 “How the Griffin Stole Christmas”
279. 15-10 08 January 2017 “Passenger Fatty-Seven”
280. 15-11 15 January 2017 “Gronkowsbees”
281. 15-12 12 February 2017 “Peter’s Def Jam”
282. 15-13 19 February 2017 “The Finer Strings”
283. 15-14 05 March 2017 “The Dating Game”
284. 15-15 12 March 2017 “Cop and a Half-Wit”
285. 15-16 19 March 2017 “Saturated Fat Guy”
286. 15-17 26 March 2017 “Peter’s Lost Youth”
287. 15-18 30 April 2017 “The Peter Principal”
288. 15-19 21 May 2017 “Dearly Deported”
289. 15-20 21 May 2017 “A House Full of Peters”

Season 16
290. 16-1 01 October 2017 “Emmy-Winning Episode”
291. 16-2 08 October 2017 “Foxx in the Men House”
292. 16-3 15 October 2017 “Nanny Goats”
293. 16-4 22 October 2017 “Follow the Money”
294. 16-5 05 November 2017 “Three Directors”
295. 16-6 12 November 2017 “The D in Apartment 23”
296. 16-7 19 November 2017 “Petey IV”
297. 16-8 03 December 2017 “Crimes and Meg’s Demeanor”
298. 16-9 10 December 2017 “Don’t Be a Dickens at Christmas”
299. 16-10 07 January 2018 “Boy (Dog) Meets Girl (Dog)”
300. 16-11 14 January 2018 “Dog Bites Bear”
301. 16-12 18 March 2018 “Send in Stewie, Please”
302. 16-13 25 March 2018 “V is for Mystery”
303. 16-14 01 April 2018 “Veteran Guy”
304. 16-15 08 April 2018 “The Woof of Wall Street”
305. 16-16 22 April 2018 “‘Family Guy’ Through the Years”
306. 16-17 29 April 2018 “Switch the Flip”
307. 16-18 06 May 2018 “HTTPete”
308. 16-19 13 May 2018 “The Unkindest Cut”
309. 16-20 20 May 2018 “Are You There God? It’s Me, Peter”

Season 17
310. 17-1 30 September 2018 “Married… with Cancer”
311. 17-2 07 October 2018 “Dead Dog Walking”
312. 17-3 14 October 2018 “Pal Stewie”
313. 17-4 21 October 2018 “Big Trouble in Little Quahog”
314. 17-5 04 November 2018 “Regarding Carter”
315. 17-6 11 November 2018 “Stand By Meg”
316. 17-7 18 November 2018 “The Griffin Winter Games”
317. 17-8 02 December 2018 “Con Heiress”
318. 17-9 09 December 2018 “Pawtucket Pete”
319. 17-10 06 January 2019 “Hefty Shades of Gray”
320. 17-11 13 January 2019 “Trump Guy”
321. 17-12 10 February 2019 “Bri, Robot”
322. 17-13 17 February 2019 “Trans-Fat”
323. 17-14 03 March 2019 “Family Guy Lite”
324. 17-15 10 March 2019 “No Giggity, No Doubt”
325. 17-16 24 March 2019 “You Can’t Handle the Booth”
326. 17-17 31 March 2019 “Island Adventure”
327. 17-18 28 April 2019 “Throw It Away”
328. 17-19 05 May 2019 “Girl, Internetted”
329. 17-20 12 May 2019 “Adam West High”

Season 18
330. 18-1 29 September 2019 “Yacht Rocky”
331. 18-2 06 October 2019 “Bri-Da”
332. 18-3 13 October 2019 “Absolutely Babulous”
333. 18-4 20 October 2019 “Disney’s the Reboot”
334. 18-5 03 November 2019 “Cat Fight”
335. 18-6 10 November 2019 “Peter & Lois’ Wedding”
336. 18-7 17 November 2019 “Heart Burn”
337. 18-8 24 November 2019 “Shanksgiving”
338. 18-9 15 December 2019 “Christmas is Coming”
339. 18-10 05 January 2020 “Connie’s Celica”
340. 18-11 16 February 2020 “Short Cuts”
341. 18-12 23 February 2020 “Undergrounded”
342. 18-13 01 March 2020 “Rich Old Stewie”
343. 18-14 08 March 2020 “The Movement”
344. 18-15 15 March 2020 “Baby Stewie”
345. 18-16 19 April 2020 “Start Me Up”
346. 18-17 26 April 2020 “Coma Guy”
347. 18-18 03 May 2020 “Better Off Meg”
348. 18-19 10 May 2020 “Holly Bibble”
349. 18-20 17 May 2020 “Movin’ In” (Principal Shepherd’s Song)

Season 19
350. 19-1 27 September 2020 “Stewie’s First Word”
351. 19-2 04 October 2020 “The Talented Mr. Stewie”
352. 19-3 11 October 2020 “Boys & Squirrels”
353. 19-4 01 November 2020 “Cutawayland”
354. 19-5 08 November 2020 “La Famiglia Guy”
355. 19-6 15 November 2020 “Meg’s Wedding”
356. 19-7 22 November 2020 “Wild Wild West”
357. 19-8 06 December 2020 “Pawtucket Pat”
358. 19-9 13 December 2020 “The First No L”
359. 19-10 17 January 2021 “Fecal Matters”
360. 19-11 21 February 2021 “Boy’s Best Friend”
361. 19-12 28 February 2021 “And Then There’s Fraud”
362. 19-13 07 March 2021 “PeTerminator”
363. 19-14 14 March 2021 “The Marrying Kind”
364. 19-15 21 March 2021 “Tales of Former Sports Glory”
365. 19-16 28 March 2021 “Customer of the Week”
366. 19-17 “Who’s Brian Now?”
367. 19-18 “The Young Parent Trap”
368. 19-19 “Meg Goes to College”
369. 19-20 “Family Cat”
370. 19-21 “Must Love Dogs”
371. 19-22 “Brief Encounter”
372. 19-23 “Rock Hard”

Info from EpGuides

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Family Guy

Primetime TV Review: “Mr. Mayor”

TV Review!

Mr. Mayor cast

“Mr. Mayor” on NBC Review by Suzanne 1/9/21

This show is created by Tina Fey and her writing/producing partner Robert Carlock (who also did “30 Rock,” “Good News” and “The Unbreakable Kimmy Schmidt”) and stars Ted Danson (“The Good Stuff,” “Cheers”). However, it’s not as funny as it could be. I watched the first two episodes. The second episode was funnier (where the Mayor gets stoned), so you do need to stick with it to enjoy it. It’s no “30 Rock” or “The Good Place,” though.

Danson stars as the new mayor of Los Angeles, Neil Bremer. He’s a former retired local businessman, widowed, that got into the race after the previous mayor flamed out in that last horrible year, 2020. Holly Hunter plays a sarcastic city councilwoman, Arpi Meskimen. She reminds me a bit of Tig Notaro’s character in “Star Trek: Discovery.” Mikaela Shaw plays Vella, the mayor’s chief of staff. Others in the mayor’s staff include Mike (Tommy Tomás) and a really annoying dumb guy, Jayden (Bobby Moynihan).

The joke of the show is that the mayor knows nothing about politics, and they’re all worried about what dumb things he’ll do, but really, he’s a bit more savvy than they give him credit for because he’s good with people. He’s softened a bit by his teen daughter, Orly (Kyla Kenedy).

Unless the show gets a lot funnier, I doubt it’ll be a hit. Hunter and Danson are both way too good to be in this sitcom.

MORE INFORMATION:

“Mr. Mayor” follows a retired businessman (Ted Danson) who runs for mayor of Los Angeles to prove he’s “still got it.” Once he wins, he has to figure out what he stands for, gain the respect of his biggest critic (Holly Hunter) and connect with his teenage daughter, all while trying to get anything right for America’s second weirdest city.
The series stars Ted Danson, Holly Hunter, Vella Lovell, Mike Cabellon, Kyla Kenedy and Bobby Moynihan.
“Mr. Mayor” is produced by Universal Television, a division of Universal Studio Group, Little Stranger, Bevel Gears and 3 Arts Entertainment. Robert Carlock, Tina Fey, Jeff Richmond and David Miner will executive produce. Eric Gurian will serve as a co-executive producer.

Proofread and Edited by Brenda

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The opinions in these articles are those of the writer and do not necessarily reflect the opinions of The TV MegaSite or its other volunteers.

Mr. Mayor cast

Interview with Miguel Chavez

TV Interview!

Miguel Chavez of "A.P. Bio" on Peacock

Interview with Miguel Chavez of “A.P. Bio” on Peacock by Suzanne 10/6/20

This was a fun interview. Miguel interviewed me first before I interviewed him! He seems very nice and we had a great time.

Suzanne:   So, take us back to the beginning to when you auditioned for your role of Eduardo on AP Bio. How did that go?

Miguel:   Yes. So, the audition process was very typical to how an actor goes out for a role. My agent, my manager, emailed me the the audition notification. I got the sides for – if you really I don’t know what sides are, sides are the material that you’re given to prepare for the audition. And I went into Wendy O’Brien casting. Wendy O’Brien is the casting director; she’s a very, very lovely woman. And when I auditioned for the show, my first thought looking, researching the show was, “Oh, I can see myself in the role of this show.”So, for better or for worse, I could see myself being with a bunch of dorks. And what ended up happening, was I auditioned, and I felt like I did good. I felt like I understood the humor that they were going for, and I let it go. You know, you’ve auditioned so many times, you just have to let it go. So, that’s what I did. Like a day later, two days later, I get the message from my reps that I am strongly pinned for the roll, which means that I’m like the number one pick. On the Thursday of the week of my audition – I auditioned on a Tuesday – Thursday of that week, I find out that I got the part. And I was excited, nervous. It’s just a really bizarre feeling when you get a job finally. And then Friday, I go to my first table read with the whole cast and crew as member of the show.

Suzanne:   That’s cool. And you came in during the second season, right?

Miguel:   Yes, I did. I came in during the second season of AP Bio. I was a little nervous, because the cast knew each other, but you know what? They were really kind.

Suzanne:   So, did it kind of feel like going to a new school?

Miguel:   Yeah, actually. That’s a great question. It really felt like going to a new school. You want to be liked; you want to be respected. You want to keep your job, but fortunately, I’ve had enough life happen to me where I could keep things in perspective. And what mattered to me most was serving the story, serving my crew, and just being professional on set.

Suzanne:   Great. So, they made you feel welcome.

Miguel:   They did, and Barbara Stoll, our producer, works very hard to create a very safe environment on set.

Suzanne:   Oh, good, good. And I see that you’re from Rancho Cucamonga. I used to live in Riverside for a while.

Miguel:   You did? No you didn’t.

Suzanne:   No I did for about eight years. We went to a Quakes game in Rancho Cucamonga once.

Miguel:   That’s amazing.

Suzanne:   Is that where you grew up?

Miguel:   Yes, that is where I grew up. As a matter of fact, I’m staying in Rancho right now during this quarantine.

Suzanne:   Okay, that’s cool. Did you go to Quakes games when you’re growing up?

Miguel:   You know what, maybe I went to one, but my family was never much of a baseball family. So, we didn’t go to a Quakes – I should go though. I would like to before I leave Rancho,  just to experience more of my local hometown stuff.

Suzanne:   Right. Well, when when we were in Riverside, they had – I can’t remember the name. Oh, first we had the Red Wave, and then it was the Riverside Pilots. So, we would sometimes go to their other games, like Lake Arrowhead and all that. It was right down the street from us. So, it was something to do.

Suzanne:   So, you’re living in Rancho Cucamonga right now because of the pandemic, or do you have another place?

Miguel:   That is correct. Yeah. You know what, being in LA was was the plan, but this pandemic happened. So, I just moved back in with my folks during this pandemic.

Suzanne:   Yeah, might as well. Right?

Miguel:   Might as well. A lot of people are doing it. I mean, you know, pandemics happen.

Suzanne:   So, how is Eduardo different from you?

Miguel:   Eduardo, I like to think, well, Eduardo dresses way differently from me. He dresses like he’s a grandpa, you know, with corduroy pants, like a button down dress shirt and a sweater vest. So, that’s how he dresses.His sense of style isn’t really there. So, I like to think mine is slightly better than his. We’re both really similar. He’s just like an extreme version of me, like he’s super awkward. I’m not super awkward, but I can be awkward. He’s super nervous around girls. I can get nervous, but not as much as Eduardo. But we’re both very kind people, and we both have our friend’s back.

Suzanne:   Cool. And have you heard yet whether there’s gonna be a season four?

Miguel:   You know what, I am just a mere actor on the show. I have not heard yet. I’ve heard the reviews for season three are really great, and our show does show numbers in regards to streaming views. However, I haven’t heard anything.

Suzanne:   Okay. I read quite a few reviews, and they were pretty much all positive. The ones that I read.

Miguel:   Yeah, there were really positive reviews.

Suzanne:   If someone hasn’t watched all of season three yet, which episode would you tell them to watch that features Eduardo the most?

Miguel:   That’s a great question. The episode that I would recommend people watch the most is an episode where my character and my best friend – because all my episodes, pretty much the thing about me in the show, it’s more of me and my best friend doing things, and my duo, best friend is Victor (Jacob Houston) in the show, and getting into shenanigans is our issue. So, I would recommend what people watch, is “Get Hoppy.” That’s a really fun episode from season three.

Suzanne:   Okay. I just watched the first two before your call, and I was grimacing when you had the throwing star stuck in your leg. I was like,”Ooh.”

Miguel:   Oh, that’s funny. So many things happen on set you forget about them, but yeah, pretty much our props guy, David Hect, he runs props on my show, and he’s a wonderful man. He just strapped a belt to my leg, and he attached a shooting star to it, or whatever it’s called. And that’s how they did it.

Suzanne:   I was very glad when she pulled it out that it didn’t have blood gushing out. But that would be a very different show.

Miguel:   That’s that’s like off brand, like HBO, and we’re not actually that way.

Suzanne:   That’s right. And do you have any other projects that you were working on either before or after the pandemic started?

Miguel:   I’m just writing. Right now I have my writing partner. Michael Goldenberg and I are just writing a workplace comedy about tour guides at a studio. I used to be a tour guide at Paramount Pictures, so we know that world pretty well.

Suzanne:   Paramount, I haven’t been to that one. I grew up when Universal was the big one that everybody went to. Before it had all the rides and everything, it was just a studio tour. Then I think I went to Warner Brothers, because we were near there or somebody wanted to go. I’ll have to check Paramount out. Do they still have a tour?

Miguel:   Yeah, I think you’d really like it. It’s a really lovely tour, and the tour guides are a bunch of sweethearts, and you get a really good experience. It really gives you the classical field of Hollywood, Hollywood what it used to be.

Suzanne:   Well, they say, ‘Write what you know,” so sounds like you’re doing that.

Miguel:   Yeah, so I know a lot about that life.

Suzanne:   What do you think that you want to get involved in, in the future? As far as acting, directing, writing, what else?

Miguel:   You know, there’s so many things I want to do, and this is a very crazy industry I’m in. What I try to tell myself, is just to let my career blossom in front of me and just be pleasantly surprised by the roles I get. And now I just try to do that. I mean, I would love to play I don’t know, the detective in this or that, but I mean, there’s just so much that’s out of my control that I just have to have a sense of surrender when I go out for roles. Fortunately, I get to play roles that are different from me and that surprise me. I didn’t think I’d get cast as Eduardo, but in retrospect, I should know my work, and he’s been a lot of fun to play.

Suzanne:   Good. And so what have you been doing to keep busy during the pandemic?

Miguel:   You know, a lot of exercise. Yeah, I built the gym in my garage and just a lot of exercise. I’ve never had so much structure, so just exercising every day and reading a lot of books.

Suzanne:   What are you reading right now?

Miguel:   Right now I’m reading The Lord of the Rings: The Fellowship of the Ring. I’m rereading that book.

Suzanne:   Oh, rereading. Yeah, I [read] that a long time ago. I should reread that one of these days.

Miguel:   Yeah. What about you? Do you like to read?

Suzanne:   I do, but I haven’t had much time to read. I have a Kindle, and it’s got about a thousand books on it I haven’t read. I read a lot in the past, but yeah, I need to get back to it. Yeah, I read I read some magazines, mostly.

Miguel:   Which ones?

Suzanne:   Well, my site covers a lot of daytime as well as primetime, so I read Soap Opera Digest, Entertainment Weekly, Vanity Fair, and Good Housekeeping, which I got for like, ten bucks for a year.  They keep sending it to me, and I’m like, “Okay, it’s only ten bucks, whatever.” That’s how they get you.

Miguel:   Good Housekeeping, yeah I should read that one.

Suzanne:   Yeah, it’s mostly what they would call a women’s magazine. It’s like recipes and makeup and you know, stuff like that.

Miguel:   Yeah, that’s funny. Who knows, maybe I’ll get something out of it.

Suzanne:   You never know. Well go to the dentist or something. You’ll probably find a copy there.

Miguel:   That’s hilarious. Now that you mention it, I do recall seeing those there at those places.

Suzanne:   So, what talents do you have besides acting and writing?

Miguel:   You know what, before I started working as an actor, I was a stunt man. I went to stunt school for a year, just to do something with my life and learn new skills. So, I was doing stunt training, so I know how to fall and how to get my butt kicked in class, just that type of work. However, now, depending on the stunt, I’d probably have a stunt man do some of my stunts, that way I don’t get hurt on set.

Suzanne:   Right. They take a lot of risks.

Miguel:   Oh, yeah, your life is dangerous, like one time I was on set. I was a stunt man on this non-union film, and I fell on cement like fifteen times at least, ten to fifteen times. My body felt really fatigued the next day.

Suzanne:   Well, it’s good that you work out so much. So, even if you did do it, you might not hurt yourself so much.

Miguel:   Yeah. I mean, you spend a lot of your time in classes learning how to fall. It’s crazy; it’s absolutely crazy.

Suzanne:   Yeah. And is there anything else that you’d like to tell your fans about you or the show?

Miguel:   You know, it’s a show that is funny. It’s not really that dark, and it’s easy to watch with your friends and family. So if you want to find something to watch that will make you laugh and smile during these crazy times, watch AP Bio season three.

Suzanne:   All right, great. Thank you so much for the call. I really appreciate it.

Miguel:   Likewise, thank you so much for having me.

Suzanne:   All right. Talk to you later.

Miguel:   Bye.

Suzanne:   Bye.

Here is the audio version of it.

Interview Transcribed by Jamie of http://www.scifivision.com

MORE INFO:

Making waves as one to watch in Peacock’s comedy series “A.P. Bio,” (now streaming it’s third season on NBCUniversal’s streaming service) we would love to arrange an interview with you and breakout star Miguel Chavez to discuss his hit comedy series. Miguel is also available to discuss working alongside Glenn Howerton (FX’s “It’s Always Sunny in Philadelphia”), and Jean Villepique (Netflix’s “BoJack Horseman”), his other current projects, as well as his career overall.
A.P. Bio centers around a Harvard philosophy professor, Jack Carson Griffin (Glenn Howerton) who loses out on his dream job to his rival Miles Leonard (Tom Bennett), he is forced to return to  Ohio and work as an advanced placement (A.P.) biology teacher at Whitlock High School. Jack makes it clear to his class that he will not be teaching any biology but later realizes that he has a room full of honor-roll students. Jack decides to use them for his own benefit and to get revenge on Miles. Eager to prove that he is still king of the castle, Principal Durbin (Patton Oswalt) struggles to keep Griffin under control. Miguel plays the role of ‘Eduardo,’ a shy, introverted student who’s best friends with the nerdy, Victor Kozlowski. Eduardo’s main focus is to obtain what every high school boy puts his main energy into, finding a girlfriend.
Miguel was born and raised in Southern California to a Mexican father and a half-Korean, half-Mexican mother. Miguel first discovered his love of the arts and acting at the young age 13 and began participating in community theater, as well as school paly productions and playing the saxophone in band. Continuing to grow and develop his love for the entertainment industry, he majored in filmmaking and graduated with a BA from Woodbury University in Burbank, CA. After graduation, Miguel enrolled in a stunt school, Stunts in Motion, where he trained under fight choreographer, certified stunt coordinator/performer, Jack Huang.
On his free time, Miguel is dedicated to his fitness regimen, working out 6 days a week, weightlifting and practicing Yoga. An avid reader, he enjoys books such the high fantasy novel Lord of the Rings and Thirsty: Thirst, a self-help book. He hopes to be a role model for the Latinx and Asian community and to continue the on-going conversation of how important representation, diversity and inclusivity is in Hollywood.

Proofread and Edited by Brenda

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Miguel Chavez of "A.P. Bio" on Peacock