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The Hollywood Reporter

The Hollywood Reporter Award Special 17A July 2020

The all-new Hollywood Reporter offers unprecedented access to the people, studios, networks and agencies that create the magic in Hollywood. Published weekly, the oversized format includes exceptional photography and rich features.

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3 Min.
clearing the drawing board

A glaring Emmy injustice was rectified last year when Netflix’s BoJack Horseman — easily one of the smartest, funniest, best-written, best-looking and best-acted comedies of the past decade — finally garnered its first outstanding animated program nomination. Centered on the eponymous washed-up sitcom star (voiced by Will Arnett), Raphael Bob-Waksberg’s Hollywood satire was hardly a hidden gem; fans and critics were united in their resounding praise. Its conspicuous absence from Emmy contention led some commentators to wonder whether BoJack was too acerbic — or too honest — in its near-nihilistic depiction of show business for the TV Academy to warm up to it. Whatever the reason, BoJack’s continued snubbing — save for a 2017 nod for Kristen Schaal’s guest performance — said a lot less about the show than about…

2 Min.
limitless options in the limited series race

LITTLE FIRES EVERYWHERE Hulu Reese Witherspoon and Kerry Washington, who are both executive producers, play Cleveland-area mothers in the late 1990s in this eight-episode adaptation of Celeste Ng’s 2017 New York Times No. 1 best-seller of the same name, which confronts tough questions about race and class. It only recently finished rolling out (April 22), and Hulu says the show is its most watched drama to date. The show, which also stars Joshua Jackson and Rosemarie DeWitt, has an 80 percent favorable rating on Rotten Tomatoes, the lowest of this lot. MRS. AMERICA FX on Hulu Mad Men writer Dahvi Waller shifts her focus from the ’60s to the ’70s in this nine-episode depiction of the real-life ERA debate that pitted Phyllis Schlafly (Cate Blanchett, who is also an EP) against leading feminists (played by Rose…

13 Min.
in conversation with father & son scribes carlton and nick cuse

Damon Lindelof may be the obvious creative common denominator between ABC’s “Lost” and HBO’s “Watchmen,” but there’s another bloodline pumping through the veins of those television masterworks: Carlton Cuse and son Nick Cuse, veterans of the heralded island drama and the recently launched (and allegedly concluded) comic book adaptation, respectively. Just as Carlton Cuse mentored Lindelof in the late 1990s through Nash Bridges and the pair eventually joined forces as co-showrunners of Lost, starting in 2004, Lindelof has gone on to serve as a mentor of sorts to the younger Cuse, whose writing credits include some of the most exhilarating episodes of not just Watchmen but also of HBO’s The Leftovers. The hour in which Justin Theroux’s Kevin Garvey traipses through an ethereal world trying to thwart an assassination attempt? Tip…

1 Min.
secrets of the scripts

Netflix THE CROWN Season 3, Ep. 4: “Aberfan” By Peter Morgan FX POSE Season 2, Ep. 4: “Never Knew Love Like This Before” By Janet Mock & Ryan Murphy FX WHAT WE DO IN THE SHADOWS Season 2, Ep. 6: “On the Run” By Stefani Robinson Netflix UNBELIEVABLE Episode 102 By Susannah Grant…

4 Min.
‘stories you don’t get to hear’

After Kumail Nanjiani and Emily V. Gordon’s 2017 semiautobiographical feature The Big Sick earned critical acclaim and a screenplay Oscar nomination, the co-writers (and real-life couple) found themselves flooded with offers for their next project. “Little America is genuinely the only thing we have attached ourselves to since The Big Sick,” says Gordon. “It was an idea that made us think, ‘Why doesn’t it exist already? I want to watch that.’ It just felt so perfect.” So they signed on as executive producers for the Apple TV+ anthology series, which comprises eight true immigrant stories. Plus, they wrote the episode “The Rock,” which follows an Iranian man (Shaun Toub) who is determined to build his dream home on a plot of land — but a giant boulder is standing in…

8 Min.
under pressure: finales

Ending a show is not for the faint of heart. A final chapter of a beloved series involves sleepless nights, endless second-guessing and last-minute Hail Marys. “The thing that incites panic in writers and producers is this feeling that it’s not just about sticking the landing, it’s about having the finale be the best episode you ever did,” says The Good Place creator Mike Schur. “It’s very unlikely that that’s going to be the case because finales have to do other things besides just satisfy you on a plot or character level. They have to be the epilogue of the entire series.” Deviating from his signature cliffhangers, Peter Nowalk spent the last episodes of ABC’s How to Get Away With Murder finally getting to the answers. “I wanted to really understand…