12.06.21
BACKSTAGE.COM
12.06.21
BACKSTAGE.COM
The 28th Annual
SAG Awards
Outstanding performances by female actors on television
vol. 62, no. 33 | 12.06.21
ALLISON JANNEY ON “MOM”
Contents Awards Contenders 10 Outstanding Performance by a
Female Actor in a Comedy Series
18 Outstanding Performance by a
Female Actor in a Drama Series
24 Outstanding Performance by a
Female Actor in a Limited Series
8 SO MUCH OF A GOOD THING
RUTINA WESLEY, KOFI SIRIBOE, AND DAWN-LYEN GARDNER ON “QUEEN SUGAR”
Our awards editor welcomes you to the SAG Awards’ vast small-screen landscape
29 TV PERFORMANCES BY WOMEN
EVERY ACTOR SHOULD SEE The TV legends your small-screen favorites absolutely love
30 THE MORE YOU KNOW
It’s time to test your knowledge of one of screen acting’s biggest nights
33 WHAT MAKES AN ACTOR:
TV EDITION Your favorite performers’ “I am an actor” speeches
34 DON’T TOUCH THAT DIAL
This year’s award-worthy acting moments on TV screens you might have missed
MELISSA MCCARTHY ON “NINE PERFECT STRANGERS”
Cover designed by Ian Robinson.
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“MOM”: ROBERT VOETS; “QUEEN SUGAR”: SKIP BOLEN; “NINE PERFECT STRANGERS”: VINCE VALITUTTI/HULU
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BACKSTAGE, vol. 62, no. 33 (ISSN#53635 USPS#39740) IS A WEEKLY PUBLICATION, WITH OCCASIONAL DOUBLE ISSUES IN MARCH, MAY, SEPTEMBER, FEBRUARY, JUNE, AUGUST AND DECEMBER AND ONE ISSUE PUBLISHED IN APRIL AND JULY (except the fourth week of December) by Backstage LLC, 45 Main St., Brooklyn, NY 11201, $3.99 per copy, $99 per year. Periodicals postage paid at Brooklyn, NY 11256 and additional mailing offices. Printed in USA. POSTMASTER: Send address changes to Backstage, 45 Main St., Ste. 416, Brooklyn, NY 11201. Publication Mail Agreement No. 40031729. ©2017 Backstage LLC. All rights reserved. No part of this publication may be reproduced, stored in any retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Backstage LLC: Joshua Ellstein, Chief Executive Officer.
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ISSA RAE ON “INSECURE”
JEAN SMART ON “HACKS”
THUSO MBEDU ON “THE UNDERGROUND RAILROAD”
Hi, fellow binge-watchers, As anyone who’s tried to watch as many talked-about TV shows as possible can attest, building the stamina required to experience the golden age of television is all about finding balance. You can suffer crushing losses alongside Thuso Mbedu on “The Underground Railroad” and soothe them with Hannah Waddingham and Juno Temple’s unbreakable friendship on “Ted Lasso.” Issa Rae can make you feel awkward enough to crawl into a hole on “Insecure,” but then you can bounce back by channeling your inner house mother with Michaela Jaé Rodriguez on “Pose.” You can
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laugh with “Hacks” stars Jean Smart and Hannah Einbinder in Las Vegas before bawling your eyes out with Julianne Nicholson and Kate Winslet over in Easttown, Pennsylvania. The sheer number of female actors doing impactful, awards-worthy work on TV inspired us to curate an issue to celebrate them. Of course, we want to remind you why those unforgettable performances are so great, but we also want to take your considerations a bit further afield. As you thumb through these pages, we hope you discover a brilliant new show or actor—just in time for the SAG Awards!
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This year, readers will get a special glimpse behind the awards curtain. Are you curious about which shows and performances are actually eligible for SAG Awards? It’s been a funky year, after all. Look to our breakdown from awards editor Jack Smart on Page 8, and our comedy (Page 10), drama (Page 18), and limited series (Page 24) sections for rundowns on individual performers. Think you’re a TV SAG Awards expert? Put yourself to the test on Page 30. And if you want even more acting inspiration—beyond our lists of the best of this year’s eligible female TV performances, that is—we’ve got some of our
favorite actors telling us about their favorite actors on Page 29. Whether you’re an avid fan, a curious awards voter, or a Backstage newbie, this issue celebrates creativity, technique, and small-screen performances from women you won’t want to miss this year. Happy exploring!
Briana Rodriguez Editor-in-Chief
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“INSECURE”: MERIE W. WALLACE/HBO; “HACKS”: JAKE GILES NETTER/HBO; “THE UNDERGROUND RAILROAD”: KYLE KAPLAN
Letter From the Editor
So Much of a Good Thing
Our awards editor welcomes you to the SAG Awards’ vast small-screen landscape By Jack Smart
PAULINA ALEXIS, DEVERY JACOBS, D’PHARAOH WOON-A-TAI, AND LANE FACTOR ON “RESERVATION DOGS”
Dear SAG Awards Nominating Committee member,
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bountiful time for the limited or anthology series format; while “Mare of Easttown” and “The Underground Railroad” vied for Emmys earlier in the awards season, projects like “The White Lotus,” “Impeachment: American Crime Story,” and “Nine Perfect Strangers” added themselves to the SAG-eligible list. SAG-AFTRA isn’t the only voting body in town that recognizes standout TV. The Film Independent Spirit Awards just added small-screen project honors last year. The Gotham Film & Media Institute’s awards are seen as the season’s opening look at worthy TV contenders and an indicator of where winds might blow. This year, new productions like “Squid Game,”
Sincerely, Jack
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COURTESY FX ON HULU
The time has come to reflect on the past year of television. What do nominators need to know about the 2021 awards landscape’s rules, players, and major shifts? Which individuals and ensembles should be honored in 2022? Is there room for some surprises on nomination day? Before we dive in: Congratulations on being one of this year’s 2,500 SAG Awards Nominating Committee members. It’s your job to use the nominating window to sift through 2021’s TV programming and raise up its best ensembles and individual actors. What TV is eligible? Specific rules apply, but
any scripted season that aired at least four episodes in the U.S. between March 1 and Dec. 31, 2021, is fair game. It’s a challenge, yes, but it’s also an honor you won’t have the chance at again for eight years, so embrace it! If you feel like there’s a lot of content out there, you are right! Although pandemic-induced delays mean this season’s eligibility window is shorter than usual, there are still many series to choose from in this golden age of TV. Projects like “Succession,” “The Morning Show,” and even “Dexter” made triumphant returns, while fall premieres “Only Murders in the Building,” “Maid,” and “Hawkeye” are likely to capture some nominators’ attention. It’s a particularly
“Reservation Dogs,” and “It’s a Sin” found themselves among the nominees. Don’t get your hopes up for the usual bellwether that is the Hollywood Foreign Press Association’s Golden Globe Awards, though; the televised presentation has been nixed. Instead, we’ll get the Critics’ Choice Awards on Jan. 9, 2022. Going into this season, consider casting the widest possible net. Remember how voters at the 73rd Primetime Emmy Awards neglected to spread the love? Even with today’s abundance of TV talent, “The Crown” completed a near-sweep of drama categories, while “Hacks” and “Ted Lasso” claimed the majority of comedy prizes. Past SAG Award winners such as “The Handmaid’s Tale,” “This Is Us,” and “The Kominsky Method” regularly appear on ballots for a reason, of course; but in putting together your lists of 2021 contenders, we hope you recognize worthy casts who tend to fly under the radar. “Mythic Quest” is a brilliant expansion of the workplace ensemble comedy, for example. And don’t forget genre-forward entries like “Evil,” “What We Do in the Shadows,” and new series “Foundation” and “The Wheel of Time.” And “Squid Game,” Netflix’s epic entry from South Korea, reminds us that, more than ever, foreign-language series deserve consideration, too. Given this TV buffet, I encourage you to sample channels and platforms you wouldn’t normally watch. Question your comfort zone and inherent biases. Ask friends, family, and strangers on the internet for their favorite lesser-known watches. Remember, too much good TV is a champagne problem—so drink up!
“one of my
ABSOLUTE FAVORITES of the year” – Forbes
“the show that you
HAVE TO WATCH” – Deadline
“MOST COMPELLING
as a tale of healing and self-discovery” – The Washington Post
“A RIVETING exploration of one woman’s life” – The Hollywood Reporter
“A drama of
REMARKABLE POTENCY” – The Wall Street Journal
“grounded in a
GENUINE
sense of place” – TIME
#
● Female
Comedy Series
LOLLY ADEFOPE AND AIDY BRYANT ON “SHRILL”
A
FYC: Female Actor in a Comedy Series HEAD OF THE JAN. 12 SAG AWARD NOMINATIONS announcement, the time has come to brush up on the year’s top television contenders. Brace yourself: There’s a lot of TV out there, particularly when it comes to comedy series featuring leading or supporting women. Read on for a sampling of the ladies who make us laugh the most.
Awkwafina
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Aidy Bryant
“Shrill” You know those screen stars who make you feel like you just want to be friends with them? Bryant is the epitome of this phenomenon, and nowhere is it more apparent
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Rose Byrne
“Physical” Any show that gives us dozens of close-ups of Byrne’s expressive face deserves every available award. As Sheila, a wife and mother caught in the throes of bulimia, the actor is as detestable as she is sympathetic. After years
of delivering reliably terrific supporting turns, “Physical” is exactly the powerhouse vehicle Byrne fans have been craving.
Lily Collins
“Emily in Paris” Any story centered on a charmingbut-flawed hero needs a leading actor who understands its tonal qualities on a cellular level. In fact, it’s mostly up to them to define and maintain the show’s appeal. As a millennial marketing executive and fish out of water in the City of Lights, the infinitely charismatic Collins provides a perfect example of how to carry a series. backstage.com
ALLYSON RIGGS/HULU
“Awkwafina Is Nora From Queens” Awkwafina’s presence has made the comedy landscape a better place. Every element of her Comedy Central series, from the character’s hunched physicality and deadpan delivery to her offthe-wall aspirations for a more fly lifestyle, clearly emerges from the writer-producer-star’s highly
original sensibilities. Her scenes opposite Lori Tan Chinn as her grandmother, in particular, are so funny that they demand a rewatch.
than on this Hulu original series. In the actor-writer-producer’s capable hands, the selfdeprecating, decidedly un-shrill Annie goes from wanting to fade into the background without upsetting anyone to exploring her own self-confidence and sense of self-worth.
● Female
Comedy Series SELENA GOMEZ ON “ONLY MURDERS IN THE BUILDING”
How I Got My SAG Card: Christina Applegate “I got my SAG card in 1976. It was for an indie film. I don’t remember what it was, but it was the ’70s and everyone was really, really high.”
Hannah Einbinder
“Hacks” How do you hold your own when sharing a scene with a legend like Jean Smart? Ask Einbinder, an impressive TV newcomer and one half of this show’s dynamic duo that lends it equal parts heart and humor. Even as her Ava Daniels gets on our nerves, the BACKSTAGE 12.06.21
Elle Fanning
“The Great” Long live Catherine the Great— Fanning’s portrayal of the Russian empress, that is. Funny, complex, surprising, and entertaining, the star’s arc from submissive betrothed to authoritative motherto-be is what makes this Hulu dramedy work. We’ll readily overlook historical inaccuracies to watch Catherine become an indomitable presence at court, sparring with enemies and resplendently conspiring with friends. Huzzah!
actor makes her relatable, and demonstrates again and again her ability to pivot between comedy and drama.
Maya Erskine
“PEN15” The success of “PEN15” rests entirely on the shoulders of its creator-stars, Erskine and Anna
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Renée Elise Goldsberry
“Girls5eva” Just as Jane Krakowski and Tituss Burgess did before her, Goldsberry spins her every “Girls5eva” line (as penned by Meredith Scardino) into comedic gold—she even calls them her “mouth gems.” As Wickie, the headstrong diva of a ’90s onehit-wonder girl group making a comeback in middle age, the “Hamilton” star invests so much narcissistic commitment into her absurd delusions that you’ll start believing them, too.
Selena Gomez
“Only Murders in the Building” While she plays it more straightfaced in contrast to her wacky co-stars, Gomez as the mysterious Mabel Mora is probably the most fun actor to watch on this Hulu hit. Externally, she comes off as cold and capable; but Gomez explores Mabel’s vulnerabilities through several powerful scenes, backstage.com
“HACKS”: JAKE GILES NETTER/HBO MAX; “ONLY MURDERS IN THE BUILDING”: CRAIG BLANKENHORN/HULU
Konkle. They do the kind of character work as 30-somethings playing middle schoolers that shouldn’t work on paper, yet somehow has for two hilarious seasons. Erskine makes Maya Ishii-Peters’ sexual awakening through the confusion of puberty particularly relatable in a series that’s designed to make you cringe.
“GIRLS5EVA”: HEIDI GUTMAN/PEACOCK
HANNAH EINBINDER ON “HACKS”
RENEÉ ELISE GOLDSBERRY ON “GIRLS5EVA”
Regina Hall
“Black Monday” Being the only woman at an ’80s stock-trading firm does not deter Hall’s Dawn from exuding confidence and going toe-totoe with coke-snorting bros. It feels like Hall was made for this ridiculous Wall Street world, wearing gaudily fabulous outfits, inhaling cigarettes in the middle of Jazzercising, and making loads of dough, all while cracking us up. “GIRLS5EVA”: HEIDI GUTMAN/PEACOCK
“HACKS”: JAKE GILES NETTER/HBO MAX; “ONLY MURDERS IN THE BUILDING”: CRAIG BLANKENHORN/HULU
all while maintaining genuine chemistry with Steve Martin and Martin Short.
Allison Janney
“Mom” Bonnie is a screw-up who unapologetically screws up other people’s lives. But Janney is so pitch-perfect in her physical comedy, so endearing, and so damn funny that she makes this (frankly horrible) woman affable. Who else could pull that off? It’s backstage.com
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● Female
Comedy Series
ANNIE MURPHY ON “KEVIN CAN F**K HIMSELF”
no wonder the seven-time Emmy winner frequently sweeps awards shows—and will surely continue to do so.
Anna Konkle
“PEN15” Don’t let the winking prankster title fool you; “PEN15” grapples with more than facile concerns of the teen spirit. Konkle, as middle schooler Anna Kone, charts an especially emotional arc on Season 2 of the hit Hulu series as she navigates her parents’ ongoing divorce. While those scenes will leave you in tears, opposite Erskine, she’ll have you in stitches.
Cristin Milioti
“Made for Love” If you’re looking for the perfect marriage of actor and role, look no further than Milioti as Hazel Green-Gogol, emerging from a desert bunker in a soppingwet party dress, eyes full of hilarious desperation. It’s a perfect marriage she’s portraying, too, opposite Billy Magnussen’s techbillionaire man-child; the two provide a darkly comedic master class in conveying the difference between things said and unsaid.
HOLLAND TAYLOR, NANA MENSAH, AND SANDRA OH ON “THE CHAIR”
Annie Murphy
“KEVIN CAN F**K HIMSELF”: JOJO WHILDEN/AMC; “THE CHAIR”: ELIZA MORSE/NETFLIX
“Kevin Can F**k Himself” The multicamera portions of Valerie Armstrong’s daring AMC series qualify it as a comedy, and Murphy is, of course, no stranger to eliciting laughs. But it’s in the dramatic, single-cam half of this story where the actor truly shines. As she digs into the depths of Allison’s loathing for her husband, Murphy’s goofy moments of sending up the sitcom housewife trope take on a delightfully sour undertone.
Sandra Oh
“The Chair” How brilliant to let Oh loose in academia. She’s an inherently brainy performer who excels at quick-witted line deliveries. Whether she’s in a comedy or drama, her canniness is always on full display. She pulls off both, again, on Amanda Peet and Annie Julia Wyman’s Netflix series as BACKSTAGE 12.06.21
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● Female
Comedy Series
ISSA RAE ON “INSECURE”
Cecily Strong
Ji-Yoon Kim, the newly instated English department chair at a fictional Ivy League college. Acting students should look to Oh for clues on harnessing empathy in their performances.
an overbearing mother and hopeless crushes—Devi is dealing with (or refusing to deal with) the loss of her father. Ramakrishnan guides us on her coming-of-age journey beautifully.
Issa Rae
Tracee Ellis Ross
“Insecure” For five seasons, this comedic masterpiece has depicted life in Los Angeles for Issa Dee, played to blundering perfection by Rae. Although you constantly feel compelled to grab her by the shoulders and swivel her away from impending bad decisions, you never stop rooting for the notso-indefatigable heroine. That’s thanks to the creator-star’s knack for being funny, relatable, and painfully insecure.
Maitreyi Ramakrishnan “Never Have I Ever” Ramakrishnan was cast from an open call for the leading role of Devi Vishwakumar on Mindy Kaling and Lang Fisher’s hit dramedy. Her combination of awkwardness and feigned confidence makes it easy to see why. Along with the familiar trials facing high schoolers—like BACKSTAGE 12.06.21
but über-rich Vegas performer. Her delivery of such scathingly hilarious lines as “I was just wondering why you were dressed as Rachel Maddow’s mechanic” should be taught in comedy acting classes forever.
“Schmigadoon!” There’s an added layer of loveliness to Strong’s performance as Melissa, an OB-GYN who’s in a rocky relationship with Keegan-Michael Key’s Josh—while also trapped in a golden age–style musical: As she’s swept off her feet during song-anddance numbers, you can tell the actor is fulfilling a lifelong fantasy. It takes real skill to make fun of something you love, and that is Strong’s sweet spot.
Juno Temple
“Ted Lasso” Temple continues to be a reliable presence onscreen. She plays football team marketing
“Black-ish” In some ways, Rainbow Johnson is your typical sitcom mother: frazzled yet poised, put-upon yet supportive. But Ross and the creators of ABC’s most subversive comedy have turned that trope on its head by adding new qualities: She’s goofy, badass, and often borderline deranged. The star keeps demonstrating her dramatic (and directing!) chops, making us love the Johnson family and its matriarch even more than we already did.
Jean Smart
“Hacks” Playing two diametrically opposed roles on “Hacks” and “Mare of Easttown,” Smart ruled our TV screens this spring. She won an Emmy for the former as Deborah Vance, a boundary-pushing comedian spending the twilight of her career as a washed-up
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“INSECURE”: GLEN WILSON/HBO; “NEVER HAVE I EVER”: ISABELLA B. VOSMIKOVA/NETFLIX
“Dickinson” Who knew Emily Dickinson’s life and words could be infused with modern issues, goofiness, and a compelling coming-of-age arc? This Apple TV+ hit does so with confidence, especially with its leading performance; the alwayswatchable Steinfeld manages to take the poet’s creative process seriously while also highlighting her quirks, romances, and ambitions.
“TED LASSO”: COURTESY APPLE TV+
Hailee Steinfeld
HANNAH WADDINGHAM ON “TED LASSO”
manager Keeley Jones with larger-than-life brassiness and sex appeal, but also with a candor that helps her develop into a woman who wants more from her life. Her chemistry with Brett Goldstein’s hardheaded Roy makes them a couple we can’t help but root for.
Lily Tomlin
“TED LASSO”: COURTESY APPLE TV+
“INSECURE”: GLEN WILSON/HBO; “NEVER HAVE I EVER”: ISABELLA B. VOSMIKOVA/NETFLIX
“Grace and Frankie” No one can deliver a punchline quite like Tomlin. Season after season on this Netflix buddy comedy—opposite the equally brilliant Jane Fonda, Sam Waterston, and Martin Sheen— the legend continues to delight as a woman with a tenuous grasp on her sanity and social standing. Feeling blue? Tune in to any scene featuring Tomlin on “Grace and Frankie.”
Hannah Waddingham
“Ted Lasso” What’s remarkable about Rebecca Welton, the steely head of the fictional AFC Richmond football club, is that we should despise her. Yet thanks to Waddingham’s Emmy-winning portrayal, we simply can’t. Initially seeking vengeance
MAITREYI RAMAKRISHNAN, JAREN LEWISON, AND MEGAN SURI ON “NEVER HAVE I EVER”
against her ex-husband (who’s also the team’s former owner), Rebecca eventually finds her moral compass. Rather than giving us a villain, Waddingham delivers a complicated, powerful woman breaking down her inner walls to reveal her heart. backstage.com
Heléne Yorke
“The Other Two” Devastating zingers, upbeat obliviousness, painfully awkward foot-in-mouth moments—Yorke can do it all as Brooke Dubek, the older sister of an overnight teen sensation. Every time Brooke
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inches closer to the spotlight as her famous brother and mother’s manager on HBO Max’s second season, Yorke finds another opportunity to positively abase herself for the sake of comedy. Her laughs-per-minute ratio is off the charts. 12.06.21 BACKSTAGE
● Female
Drama Series
T
FYC: Female Actor in a Drama Series HE TALENTED WOMEN IN DRAMA SERIES WE’VE included for your consideration make it hard to pick favorites. We suppose that’s an awards nominator’s job, but how could anyone whittle this list of contenders down to just five SAG Award nominees? Here are this year’s worthiest dramatic performances from women on TV.
Uzo Aduba
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Jennifer Aniston
“The Morning Show” Aniston’s leading turn on Jay Carson and Kerry Ehrin’s “The Morning Show” is a fantastic return to form—and to TV. The executive producer and star of
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any scene partner, visit literally any moment of Baranski’s fabulous performance on the Paramount+ critical hit.
Christine Baranski
“The Handmaid’s Tale” Dowd has been delivering great performances for the better part of three decades, but her Emmywinning turn on Hulu’s dystopian drama remains a career high. As devastating overseer Aunt Lydia, she creates a heady mix of blunt force and for-your-owngood tenderness that does what exquisite acting can: humanize a story’s most ruthless villain.
“The Good Fight” Diane Lockhart, everyone’s favorite chunky necklace–wearing power attorney, continues to slay in and out of the courtroom; the diva playing her proves increasingly unafraid of pushing the character’s flaws to the forefront. For edgy feminist inspiration or tips on how to deliver a speech that will flatten
Ann Dowd
backstage.com
SUZANNE TENNER/HBO
“In Treatment” “Therapy doesn’t have a target audience. Everyone can benefit,” says psychologist Dr. Brooke Taylor. The same can be said of Aduba’s magnetic performance on this HBO reboot. Watching both the performer and the character parse the complexities and dubious choices of her patients,
and eventually herself, can provide actors with a multilayered lesson on how to truly listen.
the Apple TV+ series humanizes power-hungry TV host Alex Levy (her ruthlessness is pushed to the limit on Season 2) without sacrificing comedic timing.
“THE EQUALIZER”: MICHAEL GREENBERG/CBS; “THE HANDMAID’S TALE”: JASPER SAVAGE/HULU
UZO ADUBA ON “IN TREATMENT”
QUEEN LATIFAH AND LAYA DELEON HAYES ON “THE EQUALIZER”
Queen Latifah
“The Equalizer” Latifah has always kicked ass in a staggering array of artistic ventures, but never this literally. As Robyn McCall, the first female iteration of the titular role on CBS’ action-drama reboot, bad guys run from her. The producer-star nails the steeliness required of a TV network detective and continually ratchets up the story’s tension. Still, she never fails to toss in that classic Latifah flourish.
Julianna Margulies
“The Morning Show” Can anyone blend traditional femininity with ironclad toughness better than Margulies? She cranks both up to 11 in her thrilling Season 2 “Morning Show” arc as Laura Peterson, a cool-as-a-cucumber news anchor with absolutely nothing to prove. It seems like everyone around her, particularly Reese Witherspoon’s Bradley, could stand to take a page out of her book. Margulies’ self-assuredness is effortlessly magnetic.
SUZANNE TENNER/HBO
“THE EQUALIZER”: MICHAEL GREENBERG/CBS; “THE HANDMAID’S TALE”: JASPER SAVAGE/HULU
Simone Missick
“All Rise” What makes Judge Lola Carmichael such a wonderful presence on network TV is her relatability; thanks to the versatile Missick, the character can both be taken seriously and appreciated as a bit of a goofball. Leading the (COVID-19 safety– compliant!) courtroom workplace drama as a likable, flawed, modern-day woman, Missick shines, particularly whenever Lola’s progressive ideals are at odds with the all-too-real American justice system.
Indya Moore
“Pose” You can’t tear your eyes away from Angel. When she’s feeling fabulous, like the world is her oyster, she knows it. But struggling to survive on the streets of New York City—let alone to make it as a transgender model—diminishes her inner light enough to shatter your heart. Capturing both her dreaminess backstage.com
and stubbornness, Moore knows exactly when and how to adjust that light.
Mandy Moore
“This Is Us” Moore is effortlessly charming and natural as matriarch Rebecca Pearson, and hers has become a long-running TV performance whose subtlety could be taken for granted. The actor’s awards recognition is overdue, considering the ease with which she plays multiple ages (more than any other actor on the Dan Fogelman series) and her skill at finding where “loving” and “overbearing” overlap in motherhood.
Elisabeth Moss
“The Handmaid’s Tale” Peering out from between the bone-white wings of her handmaid’s bonnet, Moss takes on the role of a lifetime, navigating the despair of an oppressive
ELISABETH MOSS ON “THE HANDMAID’S TALE”
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● Female
Drama Series MICHAELA JAÉ RODRIGUEZ ON “POSE”
ROSAMUND PIKE ON “THE WHEEL OF TIME”
dystopian world with dignity and a wickedly dark sense of humor. The Emmy-winning produceractor is at her most subtle when the stakes are highest, and watching her handle the pitfalls of the distressingly tangible Gilead remains revelatory.
Rosamund Pike
How I Got My SAG Card: Angela Bassett “It was this film called ‘F/X.’ Of course, when I moved to L.A. and I had to come up with a résumé, I gave my character a name. It was no longer Reporter No. 3; her name was Roberta. Why Roberta? Because I fell in love with Robert Townsend’s film that was out at the time.”
Michaela Jaé Rodriguez
“Pose” If you’re playing a character BACKSTAGE 12.06.21
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Sarah Snook
“Succession” A modern-day “King Lear” with deliciously dark humor, this satire about a family running a global media empire needs characters that feel like real people. Amid all the greedy scheming, performers like Snook are responsible for reminding us that even billionaires can be vulnerable. As Shiv Roy, she walks the line between soulless and secretly thin-skinned. backstage.com
“THE WHEEL OF TIME”; JAN THIJS; “POSE”: ERIC LIEBOWITZ/FX
“The Wheel of Time” Whether it’s her naturally steely demeanor or her ability to deliver portentous proclamations, Pike is the perfect fit for Moiraine Damodred, one of the badass women from Robert Jordan’s beloved “Wheel of Time” books. How did it take this long for someone to cast her as a spellfiring witch? Pike’s performance on the buzzy fantasy series reminds us that great acting is great acting, enhancing any genre.
whom you want your audience to fall in love with, study how Rodriguez interacts with her scene partners on “Pose.” The sheer amount of emotional lifting she must do as emerging house mother Blanca RodriguezEvangelista on FX’s gorgeously detailed AIDS-era drama proves she can take on any role. A lesser actor would buckle under the pressure of uplifting those around her without resorting to cheesiness.
● Female
Drama Series
SUSAN KELECHI WATSON ON “THIS IS US”
Yvonne Strahovski
“The Handmaid’s Tale” What is she thinking? It’s the question begging to be answered on nearly every episode of “The Handmaid’s Tale”—not of the show’s protagonist, Moss’ June, but of her at-times keeper, at-times compatriot Serena Joy Waterford, played with agonizing restraint by Strahovski. These two women depict either side of the same oppressive coin and create one of TV’s most compelling onscreen dynamics.
Susan Kelechi Watson
“This Is Us” Beth Pearson has become the glue that holds this beloved multigenerational family together. The character’s growing nuance, five seasons in, surely has everything to do with Watson’s work on the hit network drama. She is funny, warm, fierce, and restrained in every scene, especially opposite Sterling K. Brown; they play TV’s most realistic and relatable onscreen couple.
Rutina Wesley
Reese Witherspoon
JENNIFER ANISTON, BILLY CRUDUP, AND REESE WITHERSPOON ON “THE MORNING SHOW”
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“The Morning Show” Most actors would kill for just one of Bradley Jackson’s “Morning Show” monologues, full of righteous fury and sarcasm so sharp it could cut you; Witherspoon gets several per episode. The producer-actor plays Bradley with just enough naiveté to get us on the rising news anchor’s side amid the show’s shifting power dynamics. Her chemistry with Aniston positively crackles. backstage.com
“THIS IS US”: NBC; “THE MORNING SHOW”: KAREN BALLARD
“Queen Sugar” This Oprah Winfrey Network family melodrama from Ava DuVernay should be commended for giving its actors compelling material for six solid seasons— and molding it to fit the times. Through the New Orleans–dwelling Bordelons, led by Wesley’s Nova, audiences can sort out their own political and emotional viewpoints on COVID-19, George Floyd’s death, and much more. Wesley delivers big emotions without going broad, and we instinctively trust her.
“ONE OF THE BEST NEW SERIES OF 2021. A standout for its relevant subject matter, sharp, clever writing and the absolutely extraordinary cast.”
“SANDRA OH IS HILARIOUS. Holland Taylor gives possibly the most gorgeous performance in her legendary career.”
“SANDRA OH IS THE CENTER OF GRAVITY IN AN IMPRESSIVE ENSEMBLE.”
F O R Y O U R S A G AWA R D S ® C O N S I D E R AT I O N
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● Female
Limited Series
FYC: Female Actor in a Television Movie or Limited Series
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E’VE SAID IT BEFORE AND WE’LL SAY IT AGAIN: Limited and anthology series are where you can find today’s most exciting television—and TV acting. That’s particularly true of the women who captivated us enough during their short run of episodes that we find ourselves begging for a second season. Here are 2021’s buzziest and best female performers in miniseries or TV movies.
Connie Britton
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cowardice, empowerment, and loneliness exactly when this twisted satire needs them.
Jessica Chastain
“Scenes From a Marriage” This mostly two-hander starring Chastain and Oscar Isaac never shies away from heavy emotions, trusting its stars to plunge us into the depths of a fraying marriage. In as different a mode as possible from her title role in this year’s “The Eyes of Tammy
Danielle Brooks
“Robin Roberts Presents: Mahalia” Anyone who’s still unaware of Brooks’ onscreen brilliance hasn’t been paying attention. Her charisma levels are higher than ever when she’s breathing life
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Faye,” Chastain reminds us of her ability to convey raw vulnerability, infusing her Mira with outrage, joy, and heartbreak.
Jennifer Coolidge
“The White Lotus” Coolidge has harnessed her gifts in countless projects. Still, this Mike White series gives us a gratifying opportunity to see an actor embody a role crafted precisely for her. Tanya is a vapid, spoiled snob—someone whom Coolidge invites us to ridicule. Yet she’s also—“at the core of the onion,” as she proclaims in the show’s best speech—a woman adrift, grieving the loss of her mother and daring us not to empathize. backstage.com
COURTESY LIFETIME
“The White Lotus” Study Britton’s line readings on “The White Lotus,” and you’ll realize she’s a bottomless well of subtext. On the surface, her Nicole Mossbacher is a shallow, spoiled lady-boss, too self-obsessed to relate to her husband (Steve Zahn) or children (Sydney Sweeney and Fred Hechinger). But Britton digs beneath that outer layer to unearth
into another gifted performer: gospel goddess and civil rights trailblazer Mahalia Jackson. Brooks maneuvers the curves of a typical biopic, and her embodiment of Jackson’s joyful triumphs are made all the sweeter after she’s guided us through her crushing adversity.
“THE UNDERGROUND RAILROAD”: KYLE KAPLAN; “SCENES FROM A MARRIAGE”: JOJO WHILDEN/HBO
DANIELLE BROOKS ON “ROBIN ROBERTS PRESENTS: MAHALIA”
Cynthia Erivo
“Genius: Aretha” First a scientist, then a painter, and now a singer-songwriter: National Geographic’s “Genius” series shines its most illuminating spotlight yet on Aretha Franklin, a woman worthy of the label. Exhibiting genius-level on-camera instincts herself is Erivo, inhabiting Franklin’s regal presence, fabulous outfits, and soulful vocals. As is obvious by this point in her meteoric career, Erivo can always be counted on to deliver.
COURTESY LIFETIME
“THE UNDERGROUND RAILROAD”: KYLE KAPLAN; “SCENES FROM A MARRIAGE”: JOJO WHILDEN/HBO
Beanie Feldstein
“Impeachment: American Crime Story” “Impeachment” is often unbearable to watch, because both so much and so little has changed about how women are viewed in the public eye. Feldstein makes it even more so as she captures just how young and vulnerable Monica Lewinsky was during the Clinton scandal, and how little she deserved the distinction of most reviled woman in the world. Between this, the film adaptation of “The Humans,” and Broadway’s upcoming “Funny Girl,” we can rejoice: The era of Feldstein supremacy is upon us.
JESSICA CHASTAIN ON “SCENES FROM A MARRIAGE”
Kathryn Hahn
“The Shrink Next Door” Following “WandaVision,” the Hahnaissance continues with Michael Showalter’s adaptation of Joe Nocera’s true-story podcast about a therapist crossing the line. As Phyllis Markowitz, who first encourages and then recoils at her brother’s (Will Ferrell) efforts to turn his life around, Hahn once again walks the line between comedy and heartfelt drama. Every word
comes from deep within her soul—but emanates from a shoulder-padded, frizzy-haired delight of a character. She’s simply marvelous.
Nicole Kidman
“Nine Perfect Strangers” Kidman is nothing if not dedicated. It’s a joy to see her rip Masha Dmitrichenko straight from the pages of Liane Moriarty’s blockbuster novel. The Russian businesswoman and luxury
THUSO MBEDU ON “THE UNDERGROUND RAILROAD”
self-help retreat maestro may have questionable means of enlightening her desperate clientele (hallucinogenic smoothies are indeed on the menu), but there’s no question about the power of Kidman’s bone-deep portrayal.
Andie MacDowell
“Maid” Casting former “it” girl and Hollywood veteran MacDowell as the onscreen mother from hell— opposite her real-life daughter, Margaret Qualley—was a stroke of genius. “Maid” isn’t an easy watch, but the performances will keep you riveted and rooting for its central hero. MacDowell’s embodiment of bipolar disorder and damning narcissism as Paula bring the performer to some of the darkest places we’ve ever seen her go.
Thuso Mbedu
“The Underground Railroad” Training her eyes on the camera as it slowly zooms in, Mbedu’s performance evokes a million heartbreaks and a bottomless well of sadness. The rising star is in her element on Barry Jenkins’ stunning, sweeping saga of American slavery. She sinks so deeply into Cora that character and actor feel inseparable. backstage.com
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● Female
Limited Series JULIANNE NICHOLSON ON “MARE OF EASTTOWN”
JULIANNE MOORE ON “LISEY’S STORY”
“It was on a job called ‘The Dead Girl’; it was my second job. Gary Lucchesi and Tom Rosenberg were producers, and a woman named Karen Moncrieff was the director. They got me the job, and then they got me my SAG card, which was very cool. I still remember the thrill. I mean, I got dental! It was a huge deal.”
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Julianne Moore
“Impeachment: American Crime Story” At this point, it’s trite to say that Ryan Murphy’s No. 1 muse can make any onscreen material work. But Paulson delivers her take on Linda Tripp—with all the devilish scheming, professional heartache, and loneliness it entails—with surety. It’s a rare moment when you can no longer see even a glimpse of the actor—only the person she has become.
Julianne Nicholson
“Mare of Easttown” “My Ryan! My Ryan!” Spoiler alert: If you watched “Mare of Easttown,” you know that Nicholson’s Emmywinning Lori Ross ultimately shouldered much of the series’ emotional impact; it required the actor to mine unimaginable, devastating depths. It’s no wonder that Nicholson was specifically selected by executive producer– star Kate Winslet for the role. We’ll
co-stars. McCarthy’s performance as frustrated novelist Frances Welty, who’s reluctantly seeking personal transformation at a mysterious wellness resort, reminds us of those qualities.
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Sarah Paulson
Margaret Qualley
“Maid” “Maid” very well could be Qualley’s star-is-born moment. She already has an impressive résumé of leading performances and scene-stealing supporting turns, but Qualley’s likability and open-wound emotionality are more reserved here. Strong-willed, steely, and desperate to find stable ground for her daughter after fleeing an abusive marriage, her Alex demands our attention—and our tears. backstage.com
“LISEY’S STORY”: COURTESY APPLE TV+; “MARE OF EASTTOWN”: MICHELE K. SHORT/HBO
Rose Byrne
“Nine Perfect Strangers” Great acting comes down to coherence: the ability to establish a clear arc through a story’s twists and compelling chemistry with
be thinking about that car scene many TV seasons from now.
“Lisey’s Story” We shouldn’t take for granted what Moore can serve us onscreen, whether it’s grief, internal intrigue, or organic reactions to events big and small. She does all of the above on this miniseries adaptation of Stephen King’s supernatural tale of mourning and treasure hunting. It doesn’t matter how extreme her emotions are or how unlikely the twists become—we believe Moore every step of the way.
How I Got My SAG Card:
Melissa McCarthy
At this point in her fascinating, varied career, it’s safe to say there’s little McCarthy can’t do onscreen.
F O R Y O U R S A G A W A R D S® C O N S I D E R A T I O N
One of the Best TV Shows of the Year.”
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VOGUE
Moving performances from an all-around talented cast.
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Margaret Qualley and Andie MacDowell are fantastic. Nick Robinson has a blend of charm and fragility. Anika Noni Rose plays her character wonderfully.” INDIEWIRE
FYC.NETFLIX.COM
● Female
Limited Series
NATASHA ROTHWELL ON “THE WHITE LOTUS”
Natasha Rothwell
“The White Lotus” Rothwell is among the many revelations in the “White Lotus” cast. She’s best known for her goofy comedy on “Insecure,” but here, she operates on a more nuanced level. As resort spa manager Belinda, she’s all pleasant smiles and dedication to others’ needs. But when those smiles veer into winces—in particular, when her face crumples during a humiliating exchange with Coolidge’s Tanya—Rothwell earns her dramatic bona fides.
Jean Smart
“Mare of Easttown” “I’m sorry I’m not more maimed for you,” Smart’s Helen Fahey says to her daughter as she’s wheeled into an ambulance. When asked if she’d like to be accompanied to the hospital, the sincerity in Helen’s assent exemplifies the magic of her “Mare of Easttown” performance: a one-two punch of hilarious, heart-rending messiness that defines a family.
Ruth Wilson
Kate Winslet
CHINASA OGBUAGU AND KATE WINSLET ON “MARE OF EASTTOWN”
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“Mare of Easttown” There is plenty of evidence that Winslet’s turn on “Mare of Easttown” is one of the greatest TV performances ever. But let’s boil it down to a single noise: As we learn who really murdered Erin McMenamin (Cailee Spaeny), Mare’s pain escapes her body as an involuntary yelp. That sound may be the most real acting moment on a limited series full of them. backstage.com
“THE WHITE LOTUS”: MARIO PEREZ/HBO; “MARE OF EASTTOWN”: MICHELE K. SHORT/HBO
“Oslo” Diplomacy has never been sexier. Not that J. T. Rogers’ Tony-winning tale of the 1993 Oslo Accords feels erotic; it has more to do with its translation to the screen, and the casting of Wilson and Andrew Scott as the husband-and-wife team who forever changed relations between Israel and Palestine. It’s startlingly real, populated by living, breathing beings. Wilson, one of today’s brainiest, most sensual stars, gives Mona Juul both a head and a heart.
FIRSTNAME/LASTNAME MBEDU: LEV RADIN/SHUTTERSTOCK.COM; “HOW TO GET AWAY WITH MURDER”: ABC/KELSEY MCNEAL; GARDNER: FEATUREFLASH PHOTO AGENCY/SHUTTERSTOCK.COM; “DALLAS”: AA FILM ARCHIVE/ALAMY STOCK PHOTO; CUOCO: TINSELTOWN/SHUTTERSTOCK.COM; “I LOVE LUCY”: RGR COLLECTION/ALAMY STOCK PHOTO; CAMERON: DFREE/SHUTTERSTOCK.COM; “VEEP”: COLLEEN HAYES/HBO; WU: KATHY HUTCHINS/SHUTTERSTOCK.COM; “GETTING ON”: LACEY TERRELL
5 TV Performances by Women Every Actor Should See Here are the television legends your small-screen favorites absolutely love
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“I think that Julia Louis-Dreyfus’ performance on ‘Veep’ is incredibly nuanced. She’s so brilliant; she’s so intelligent. Her performance in that, especially in the final season, is something actors should see.”
CONSTANCE WU “Laurie Metcalf on ‘Getting On.’ ”
THUSO MBEDU
KALEY CUOCO
“Anything by Viola Davis, [the star of ‘How to Get Away With Murder’]. You will learn a lot. I had that when I was in university. I would watch something by Ms. Viola, and I would stop the TV and I would just try to suck it in.”
“Every actor should watch an episode of ‘I Love Lucy,’ and watch what Lucille Ball does physically and with her eyes and expression. That’s why I love comedy, because you’re not taking yourself seriously. I think that’s hard for some people—to make fun of yourself, to have big eyes. It’s a special gift to be able to let yourself go and make somebody laugh.”
HEIDI GARDNER
“There is this old TV show that I’m obsessed with, ‘Dallas.’ My husband and I are on Season 11 right now. Linda Gray plays Sue Ellen Ewing, who is married to J.R. Ewing. He is notorious, cheats on her. You’ve seen this character go through everything: She’s had a drinking problem, a horrible marriage. She takes him back so many times, and you’re like, ‘No, Sue Ellen!’ ”
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The More You Know
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THIS ACTOR HAS WON SAG AWARDS FOR SCREEN ACTING WORK BOTH IN FILM AND ON TV; THEY ARE ALSO THE MOST RECENT PERFORMER TO EARN THE FOUR MAJOR ACTING STATUETTES: THE SAG, OSCAR, TONY, AND EMMY.
1 2
Which TV ensemble has the most statuettes for outstanding performance by a cast in a comedy series? a ”Frasier” b ”The Office”
a Jeremy Irons
Which living actor has the most SAG Award nominations of all time, with 22? a Julia Louis-Dreyfus
c Edie Falco
b Alec Baldwin
d Julianna Margulies
3
Which TV ensemble has the most statuettes for outstanding performance by a cast in a drama series?
4 Jamie Foxx holds the record for most acting nominations in a single year (in 2005). Which female actor tied his streak in 2013 with four, including two for her work on the small screen? a Nicole Kidman b Maggie Smith
c ”The Big Bang Theory”
a ”ER”
c “Game of Thrones”
c Jessica Lange
d ”Modern Family”
b “The Sopranos”
d “The West Wing”
d Claire Danes
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b Frances McDormand c Al Pacino d Viola Davis
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LOUIS-DREYFUS: FEATUREFLASH PHOTO AGENCY/SHUTTERSTOCK.COM; BALDWIN: UPI/ALAMY STOCK PHOTO; MARGULIES: DFREE/SHUTTERSTOCK.COM; “MODERN FAMILY” CAST: KATHY HUTCHINS/SHUTTERSTOCK.COM; JANNEY AND SHEEN: FEATUREFLASH PHOTO AGENCY/SHUTTERSTOCK.COM; MCDORMAND: FEATUREFLASH PHOTO AGENCY/SHUTTERSTOCK.COM; BURNETT: KATHY HUTCHINS/SHUTTERSTOCK.COM; MORENO: KATHY HUTCHINS/SHUTTERSTOCK.COM; REDFORD: ANDREA RAFFIN/SHUTTERSTOCK.COM; ALDA: DEBBY WONG/SHUTTERSTOCK.COM; HAMM: S_BUKLEY/SHUTTERSTOCK.COM
It’s time to test your knowledge of one of screen acting’s biggest nights: TV edition! (See answers at the bottom of Page 32)
LOUIS-DREYFUS: FEATUREFLASH PHOTO AGENCY/SHUTTERSTOCK.COM; BALDWIN: UPI/ALAMY STOCK PHOTO; MARGULIES: DFREE/SHUTTERSTOCK.COM; “MODERN FAMILY” CAST: KATHY HUTCHINS/SHUTTERSTOCK.COM; JANNEY AND SHEEN: FEATUREFLASH PHOTO AGENCY/SHUTTERSTOCK.COM; MCDORMAND: FEATUREFLASH PHOTO AGENCY/SHUTTERSTOCK.COM; BURNETT: KATHY HUTCHINS/SHUTTERSTOCK.COM; MORENO: KATHY HUTCHINS/SHUTTERSTOCK.COM; REDFORD: ANDREA RAFFIN/SHUTTERSTOCK.COM; ALDA: DEBBY WONG/SHUTTERSTOCK.COM; HAMM: S_BUKLEY/SHUTTERSTOCK.COM
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a Carol Burnett
b Rita Moreno
c Robert Redford
d Alan Alda
a “Mad Men”
Morgan Freeman presented this actor with the Life Achievement Award in 2013. They then repaid the favor, presenting the same award to Freeman four years later.
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WHICH ENSEMBLE WON THE AWARD FOR OUTSTANDING PERFORMANCE BY A CAST IN A DRAMA SERIES FIVE DAYS AFTER PRESIDENT BARACK OBAMA TOOK OFFICE?
b “Breaking Bad”
c “Grey’s Anatomy”
d “Boardwalk Empire”
IN 2021, THIS ACTOR ANNOUNCED THE NOMINEES FOR THE 27TH SCREEN ACTORS GUILD AWARDS—ONLY TO REVEAL THAT THEY’D BEEN NOMINATED THEMSELVES IN THE LIMITED SERIES/TV MOVIE CATEGORY. a Anya Taylor-Joy b Lily Collins c Kerry Washington d Daveed Diggs
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This was the first-ever streaming series to win for outstanding ensemble performance. a “The Handmaid’s Tale” b “House of Cards”
10 Which of these shows never won the top prize for outstanding ensemble performance, but still ranks among the top 10 mostnominated series of all time? a “NYPD Blue”
c “Orange Is the New Black”
b “24”
d “The Marvelous Mrs. Maisel”
d “30 Rock”
c “Game of Thrones”
Answers: 1. c) Edie Falco; 2. d) “Modern Family”; 3. a) “ER” 4. b) Maggie Smith; 5. d) Viola Davis; 6. b) Rita Moreno; 7. a) “Mad Men”; 8. d) Daveed Diggs; 9. c) “Orange Is the New Black”; 10. c) “Game of Thrones”
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“THE QUEEN’S GAMBIT”: CHARLIE GRAY/NETFLIX: “EMILY IN PARIS”: STEPHANIE BRANCHU/NETFLIX; “LITTLE FIRES EVERYWHERE”: ERIN SIMKIN/HULU; “SNOWPIERCER”: JUSTINA MINTZ; “GAME OF THRONES”: MACALL B. POLAY/HBO
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What Makes an Actor: TV Edition
At the first Screen Actors Guild Awards ceremony, Angela Lansbury started the show with a story about playing Elizabeth Taylor’s sister…and also a singing teapot. Following her legendary lead, many have opened the show with a similar walk down memory lane, ending their speech with a simple: “I am an actor.”
FIRSTNAME/LASTNAME JANNEY: EVERETT COLLECTION INC./ALAMY STOCK PHOTO; FALCO: PAUL SMITH/FEATUREFLASH/SHUTTERSTOCK.COM; MULLALLY: PAUL SMITH/FEATUREFLASH/SHUTTERSTOCK.COM; BROWN: TINSELTOWN/SHUTTERSTOCK.COM; SHAHIDI: OVIDIU HRUBARU/SHUTTERSTOCK.COM
I’ll never forget my first acting role. The year was 1942. The film was “Casablanca,” and I had just turned 35. If I didn’t get that role, I was ready to give it all up and go back to my day job as a design engineer on the Manhattan Project. Luckily, I did get the role, and I haven’t stopped working since.
Hi, I’m Megan Mullally, and I’m an actor.
When I was a little girl, I dreamed of being an Olympic figure skater; but by the age of 12, I was already 6 feet tall and could barely get around one revolution, let alone a triple Axel. At the same time, I was cast in my first play in the pivotal role of the undertaker’s son in “Oliver.” After that, well, it was an actor’s life for me!
I’m Allison Janney, and I’m an actor.
I’m Millie Bobby Brown, and I am an actor.
I grew up in Hawaii in a single-parent household. I struggled to succeed in a society that didn’t know what to make of me. And now I’m the leader of the free world. Oh, my God, that’s not me. Sorry!
As a young, proud Black Iranian woman, I never imagined a space where art and my dreams found one another—where Mercutio is Harold Perrineau and my queen mother is Angela Bassett.
I’m Yara Shahidi, and I’m an actor.
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Just a few years ago, I would sit at home in England and perform impressions, from Joan Rivers to Amy Winehouse…. To all the young girls, I believe in you. Believe in your dreams. Follow your hearts.
I’m Edie Falco, and I’m an actor.
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This year’s award-worthy acting moments on TV screens you might have missed By Backstage Staff
I
n today’s age of peak television, you can be forgiven for not catching every bit of scripted programming from 2021. That’s why we like to zero in on individual scenes that exemplify great on-camera acting; if you don’t have time to watch a series’ whole season, just check out a moment! For your SAG Awards consideration, here are some snapshots of great acting that we at Backstage can’t get out of our heads. A gay con on “The Other Two” “The Other Two” checks all the boxes: It’s smart, it’s funny, it’s very New York, and it’s very gay. If it had a Tinder, I’d absolutely swipe right. I could choose any number of favorite laugh-out-loud moments from this year’s masterful second season—from a running joke on how poorly Rachael Ray treats her fans to Cary (Drew Tarver) hosting a digital talk show called “The Gay Minute,” sponsored by Advil. But I’ll go with Season 2, Episode 2, featuring guest stars Noah Galvin and Tuc Watkins as Eddie and Troy, a gay couple with a significant age gap who get more than they bargained for while pulling a con. Seeing an opportunity to lean into the “daddy” and “son” dynamic for their own financial gain, they pose as a father and son on “Pat! The Pat Dubek Show” and stage a dramatic BACKSTAGE 12.06.21
coming-out scene. Galvin, naturally, plays the closeted gay teen to Watkins’ unaccepting father, and Pat (Molly Shannon) gifts them a $25,000 check for their trouble. Unfortunately for them, there’s no such thing as a clean con. When Cary and his boyfriend Jess (Gideon Glick) spot the couple out to lunch, they invite the teen and his “dad” out on a New York adventure, hoping to prove that being gay isn’t such a bad thing. When Eddie and Troy’s Grindr date (Noam Ash) interrupts their afternoon, they force him to pose as the family’s straight son in hopes of keeping their cash. Thus, the iconic line is born: “I’m his son, I’m straight, and I’m from Kansas.” It’s absurdly niche enough to go down as one of the great moments in 2021 TV comedy. I dare another show to top it. —Benjamin Lindsay
half minutes, because my prose could never do her wrenching narration justice. I will, however, recount the scene’s final exchange. When Mare, defeated, almost
JESSIE ENNIS AND DANNY PUDI ON ”MYTHIC QUEST”
Mare remembers the day Kevin died on “Mare of Easttown” There is a single underrated moment on “Mare of Easttown” that, if watched without any context whatsoever, will give you all the proof you need that Kate Winslet’s Detective Mare Sheehan is one television’s greatest performances. On Episode 6, Mare’s therapist (played beautifully by Eisa Davis) asks her to recall the day her son Kevin took his life. I am not going to describe the ensuing three and a
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“THE FALCON AND THE WINTER SOLDIER”: COURTESY MARVEL STUDIOS
Don’t Touch That Dial
“MARE OF EASTTOWN”: MICHELE K. SHORT/HBO; “MYTHIC QUEST”: COURTESY APPLE TV+
KATE WINSLET AND EISA DAVIS ON “MARE OF EASTTOWN”
ELIJAH RICHARDSON AND CARL LUMBLY ON “THE FALCON AND THE WINTER SOLDIER”
“THE FALCON AND THE WINTER SOLDIER”: COURTESY MARVEL STUDIOS
“MARE OF EASTTOWN”: MICHELE K. SHORT/HBO; “MYTHIC QUEST”: COURTESY APPLE TV+
ashamed, reveals that she still lives in the same house where Kevin killed himself, she’s asked whether anyone goes up to the attic where he died. “No, we don’t…” she says, unable to finish the sentence. “No, no. No one goes up there.” She can’t even make eye contact as she speaks, but it’s ultimately her first real step along her path to mercy. That’s all Mare—and “Mare”—are desperate to attain. We’ve all got proverbial attics, don’t we? That we’re rooting for the protagonist to ascend the ladder to hers, despite her imperfect pursuit, is a testament to Winslet’s commitment to this character’s journey. That’s more than award-worthy; it’s fearless. —Casey Mink
“Mythic Quest” provides a moment of true escapism Historians looking to contextualize the pandemic can treat Apple TV+’s “Mythic Quest” as an apt pop-culture artifact. First with an episode (filmed on webcam) about coworkers coping with working remotely, then a standalone follow-up about their triumphant return to the office, this video-game workplace comedy provided solace during a dark time. Darkness is given special symbolic weight in “Everlight,” which centers on the office’s annual holiday party: a live-action role-playing tournament between medieval-esque characters. After an animated introduction voiced by none other than Sir Anthony Hopkins (who was nominated for an outstanding narrator Emmy), coworkers swing plastic weapons, acting out epic battles between despair and hope while decked out in nerdy costumes.
Then, as Danny Pudi’s cynical head of monetization, Brad, nears triumph in the tournament—promising to cancel the company’s future Everlight celebrations—the silly cosplay and kitschy decorations dissolve. We’re immersed in a stunningly detailed fantasy world—a convincing virtual reality where the stakes feel suddenly higher. Charlotte Nicdao’s co-creative director, Poppy, who’s been hurling rubber balls across the office yelling “Fireball!” now appears in full armor, shooting real fire at her foes. It’s this show’s comedy, amplified by such pops of gorgeously executed visual effects, that brought comfort to pandemic-weary viewers like myself. “For too long have we been languishing in the dark,” pronounces creator-star Rob McElhenney’s Ian—telling his beloved team, and us, that a much-needed return to normalcy is nigh. —Jack Smart
Armond’s sudden existential crisis on “The White Lotus” Set at a tropical Hawaiian resort, Mike White’s HBO satire “The White Lotus” does an excellent job of turning paradise into hell for its characters. Like a roller coaster rising to the tippy-top of its drop, the show’s depiction of elite guests having difficult discussions about class, race, and consent keeps audiences anxious but entertained throughout. That’s to say nothing of the series premiere, which also frames the series as a murder mystery. What really makes this dark comedy work is its ensemble cast and the way each character unravels—particularly the stressed, mustachioed Australian hotel manager Armond. The
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talented Murray Bartlett creates an overarching, high-strung tone with his constant unnerving behavior and sneering grin. While Bartlett has received critical acclaim for his portrayal of the vice-ridden people-pleaser, one moment in particular shouldn’t be missed. In the first episode, Armond experiences a revelation: Working at the resort has made him lose touch with his surroundings. The way the character evolves—from calm-mannered manager to a man trying to maintain his perfectly built facade as he spirals—makes Bartlett’s performance a standout. The perplexed expressions, his hilarious F-bombs—it all gives audiences a glimpse of what to expect on the rest of this squirm-inducing series. —Jacqueline Tynes
“The Falcon and the Winter Soldier” tackles America’s historical racism While “WandaVision” is rightfully getting recognition from awards voting bodies, its fellow Marvel Cinematic Universe series “The Falcon and the Winter Soldier” should not be overlooked. Sam Wilson (Anthony Mackie) visiting Isaiah Bradley (Carl Lumbly) to try to give him Captain America’s shield is an especially impactful scene. Bradley tells his tragic story: The U.S. government injected him and some of his fellow soldiers with the infamous super-soldier serum after telling them they were receiving tetanus shots—an obvious parallel to the real-life Tuskegee Syphilis Study. It’s a heartbreaking scene, and among the best acting the Marvel franchise has ever achieved, from Lumbly’s breaking voice to Mackie’s emotional reaction shots. 12.06.21 BACKSTAGE
ANNIE MURPHY AND MARY HOLLIS INBODEN ON “KEVIN CAN F**K HIMSELF”
The best part is its conclusion, in which Bradley bluntly offers his opinion on Sam following in Steve Rogers’ footsteps, saying firmly, “They will never let a Black man be Captain America.” It’s a haunting (and meta) discourse that forces American audiences to acknowledge uncomfortable truths about what it means to represent the stars and stripes. —Jalen Michael
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Allison gets taken down a peg on “Kevin Can F**k Himself” It’s easy to lose the fundamental capacity for rage when you start considering the possibility of murdering your spouse. (Look at the real-life Betty Broderick!) But AMC’s half-sitcom, half– revenge thriller “Kevin Can F**k Himself” doesn’t let you forget what fuels the vengeful fantasies of Annie Murphy’s exasperated wife Allison. The pivotal moment of the season comes not when Allison shares her plan to kill her husband, Kevin (Eric Petersen), with her unmarried friend Patty (Mary Hollis Inboden), but when Patty calls her “wallpaper” in reply. We’re meant to empathize with the fumbling Allison, but it’s Patty who reminds us of Allison’s essential lack of autonomy—because, considering she’s lost behind the scenes of her own life, she can relate. Inboden plays the cool girl perfectly, hardened to the world and burying her despair deep. Her Patty insults Allison matter-of-factly, as only an intimate friend can. Watching Murphy react to her friend’s comment by gulping down one more helping of rage, it
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feels like she’s gagging on it just a little. The moment makes us think that maybe, just maybe, Patty will get her comeuppance too. Only time—and Season 2—will tell. —Kasey Howe
Sharon begins to open up on “Ted Lasso” When you think about the charming “Ted Lasso,” the first thing that might pop into your mind is Jason Sudeikis’ ever-optimistic Ted, Brett Goldstein’s grumpy but good-hearted Roy Kent, or Hannah Waddingham’s domineering yet vulnerable Rebecca. All are deserving of praise and (Emmy-winning) recognition. But there’s another Season 2 performance on the Apple TV+ comedy that stands out: Sarah Niles as Dr. Sharon Fieldstone. At first, Sharon’s gruff exterior feels wildly out of place in the world of “Lasso.” Her minimalist communication approach is off-putting and cold. As Ted’s attempts to connect fail, he ultimately has no choice but to open up to her. As he does, we start to see a subtle change in Sharon, a slow but steady progression. You might miss it at first, as our attention is on Ted’s panic attacks and past trauma. Then— bam!—Sharon gets hit by a car. And to her own surprise, she calls Ted for support. From that moment on, an actual bond is created—even if she wishes it hadn’t been. Niles’ portrayal creates a dynamic between the duo that ends up becoming one of the most interesting on the show; their relationship both helps Ted come to terms with his past and helps Sharon blossom into a more well-rounded, open-hearted therapist. —Stephanie Snipes
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Mae confronts their abuser on “Feel Good” In an era when intensely personal shows are thriving, one flew beneath the radar: “Feel Good,” creator-star Mae Martin’s series for Channel 4 and Netflix about a comedian going the hell through it. The Canadian standup’s semiautobiographical series tackles issues ranging from addiction and recovery to desire and gender identity. That it manages to balance all this heavy stuff with laugh-out-loud humor is a testament to Martin’s skill as a writer and actor. Season 1 focused on Mae’s relationship to their narcotics addiction and their “straight” girlfriend George (Charlotte Ritchie). But the second and final season dug into the roots of Mae’s lifelong struggle, as they begin to unearth buried memories of sexual abuse at the hands of their mentor and friend Scott (John Ross Bowie), who took them in as a teenage runaway. It all comes to a head on the series finale, when Mae confronts him about what happened all those years ago. Martin’s performance in this scene is so raw that it’s hard to watch, yet impossible to look away from. Nothing is simple about what’s between the two of them: Scott ruined Mae’s life, but he also saved it. Mae
stands their ground, acknowledging both the rage and the love they feel. It’s a scene unlike any other on TV, painfully honest about the fact that the relationship between abuser and victim is seldom black and white. We’ve seen Martin play this character in all moods, from mania to infatuation to rage to deep denial. Now, the wound that’s been festering at the bottom of it all is finally beginning to heal. —Jenna Scherer
