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Buzz Feed
9 hours ago
- Entertainment
- Buzz Feed
Emmy Contenders To Stream On Hulu Right Now
With first-round Emmy voting officially closing June 23 and nominations slated for July 15, it's a great time to take stock of some of the series we will almost certainly hear read out come nomination morning. Dying For Sex Thanks to the very strange category that is (say it with me) "Limited or Anthology Series or TV Movie," we may very well see Michelle Williams go head to head against Renee Zellweger, who starred in Bridget Jones: Mad About the Boy — which, by Emmys definition, is considered a "TV Movie," despite also playing in theaters abroad. Dying For Sex, based on the real-life story of Molly Kochan — whose terminal cancer diagnosis prompted a journey of sexual exploration — was an undeniable critical hit and featured what many believe to be career-best work from Jenny Slate and Michelle Williams. Consider them locks. Best shot: Limited or Anthology Series, Actress in a Limited or Anthology Series or TV Movie (Michelle Williams), Supporting Actor in a Limited or Anthology Series or TV Movie (Rob Delaney), Supporting Actress in a Limited or Anthology Series or TV Movie (Jenny Slate, Sissy Spacek), Watch it on Hulu. The Bear (S3) One of the other deeply strange phenomena of Emmy voting is that sometimes the voting windows overlap with multiple seasons of an eligible show. Such was the case with The Bear last year; It is very possible that having Season 3 — a much less critically favored season — streaming concurrently may have negatively influenced Season 2's awards haul. This recency bias could come into play again this year with Season 4 headed to streaming on June 25 while final-round voting is still shot: Comedy Series, Actor in a Comedy Series (Jeremy Allen White), Actress in a Comedy Series (Ayo Edebiri), Supporting Actor in a Comedy Series (Ebon Moss-Bachrach), Supporting Actress in a Comedy Series (Liza Colon-Zayas), Guest Actor in a Comedy Series (Jon Bernthal), Guest Actress in a Comedy Series (Jamie Lee Curtis)Watch it on Hulu. Only Murders in the Building (S4) It's rare for a show to pick up awards momentum in its fourth season, but that seems to be exactly what's happening with Only Murders. Call it the "Emilia Pérez effect," but the show somehow managed a shocking win at the SAG Awards for Outstanding Performance by an Ensemble in a Comedy Series. Now, with Meryl Streep in the mix (and a showmance that is bringing renewed outside interest to the show), I have to imagine the momentum will only grow from here. Best shot: Comedy Series, Actor in a Comedy Series (Martin Short, Steve Martin), Actress in a Comedy Series (Selena Gomez), Supporting Actress in a Comedy Series (Meryl Streep), Guest Actress in a Comedy Series (Melissa McCarthy) Watch it on Hulu. Abbott Elementary (S4) Abbott Elementary is an unstoppable force in TV comedy. With three consecutive years of nominations, including wins for Writing, Supporting Actress (Sheryl Lee Ralph), and Lead Actress (Quinta Brunson), and a growing number of overall ensemble recognitions, the beloved workplace mockumentary series on ABC now faces an unusually crowded category of comedy competitors. New smash hits like The Studio and Nobody Wants This will certainly make this race interesting. Best shot: Comedy Series, Actress in a Comedy Series (Quinta Brunson), Supporting Actor in a Comedy Series (Tyler James Williams), Supporting Actress in a Comedy Series (Sheryl Lee Ralph, Janelle James)Watch it on Hulu. What We Do In the Shadows (S6) Cult-favorite What We Do In The Shadows has never been recognized at the Emmys. Now, having wrapped its sixth and final season, the voting body has one final shot to give the show its flowers. This wouldn't be without precedent, either; The Hollywood Reporter recently explored this phenomenon at great length, singling out shows like Slow Horses, The Gilded Age, Reservation Dogs, and The Morning Show, all of which received their first Emmy nominations after multiple blanked shot: Comedy Series, Actor in a Comedy Series (Matt Berry)Watch it on Hulu. Good American Family And now, back to the most unhinged Emmys category, which I've already teased will likely include Zellweger and Williams. Anything can happen here! And that includes an Ellen Pompeo nomination for her first big role post-Grey's. While Pompeo has never been considered a major player in the Emmys conversation before, she probably deserves an award for her massive campaigning effort this year, alone, which, yes, included a Call Her Daddy shot: Actress in a Limited or Anthology Series or a TV Movie (Ellen Pompeo), Supporting Actress in a Limited or Anthology Series or a TV Movie (Imogen Faith Reid) Watch it on Hulu. Say Nothing The only thing standing in the way of Say Nothing getting an Emmy nomination? Fans of the nothing. Despite receiving rave reviews, and what seemed to be promising interest and viewership at the time of release, chatter around the limited series adapted from the Patrick Radden Keefe book has seemingly died down in the months since. Could this be the result of its binge-drop rollout? Or the result of so many shows being dumped in the last month of Emmys eligibility? Who knows! But whatever happens, this is a series absolutely worth your shot: Best Limited or Anthology Series, Actress in a Limited or Anthology Series or a TV Movie (Lola Petticrew), Best Supporting Actress in a Limited or Anthology Series or a TV Movie (Maxine Peake)Watch it on Hulu. Mid-Century Modern (S1) A posthumous nod for the great Linda Lavin seems like a logical place for the Television Academy to show support for this new series, which follows three gay men who retire to Palm Springs. Could the series, which has drawn inevitable comparisons to The Golden Girls, be a little too throwback-y for the voting body's taste? (See also: Poker Face, a Columbo-esque "howdunnit," that missed out on a Comedy Series nom for its season and, again, seems to be on the bubble).Best shot: Supporting Actress in a Comedy Series (Linda Lavin)Watch it on Hulu. The Handmaid's Tale (S6) With 15 Oscar wins already under its belt, let's just say The Handmaid's Tale doesn't exactly need another statuette to rewrite its legacy like What We Do In the Shadows does. Even so, it's still possible that voters will want to show their love for the juggernaut by awarding the final season's undeniable performances from Elisabeth Moss and Cherry Jones, the ultimate Guest Actress shot: Drama Series, Actress in a Drama Series (Elisabeth Moss), Guest Actress in a Drama Series (Cherry Jones)Watch it on Hulu. Paradise (S1) After a surprise (to me) Oscar nomination for American Fiction, I have come to the conclusion that we should never rule out Sterling K. Brown from any acting category he is eligible for. This is especially true in the case of his new apocalyptic thriller, Paradise, because, notably, it is a reunion with This Is Us creator Dan Fogelman — with whom he earned five Lead Actor in a Drama nominations and one win. Best shot: Actor in a Drama Series (Sterling K. Brown)Watch it on Hulu. Road Diary: Bruce Springsteen and the E Street Band How beautiful would that be to see Jeremy Allen White and Bruce both nominated in the same year? It seems likely, with Road Diary: Bruce Springsteen and the E Street Band, a well-reviewed documentary about the legendary musician's ethos and mission, in the mix. Its biggest competitor will be the buddy road trip doc Will & Harper which — surprise! — is Emmy eligible. Perhaps it will have more success here than it did at the shot: Documentary or Nonfiction Special Watch it on Hulu. Social Studies Another strong entry from FX/Hulu in the docu space is the five-part series Social Studies from Lauren Greenfield — a fascinating and sobering examination of teenhood in the age of TikTok. It's hard to imagine voters forgetting some of the alarming discoveries that this documentary makes when it comes time to put pen to shot: Documentary Series Watch it on Hulu. Stream all of these series on Hulu.
Yahoo
10-06-2025
- Entertainment
- Yahoo
Michelle Williams and Jenny Slate on playing best friends in ‘Dying for Sex': ‘It was love at first sight'
Talking to Michelle Williams and Jenny Slate, it's hard to remember that they haven't always been best friends. They hug, they finish each other's sentences, they check in with each other to make sure they're on the same page. While mercifully they haven't endured what their characters on FX's Dying for Sex had, it's clear the experience of playing Molly Kochan and Nikki Boyer has bonded the two actresses closely. The limited series, which was created by Liz Meriwether and Kim Rosenstock, chronicles Molly's (Williams) journey of self-discovery after she's diagnosed with metastatic breast cancer — with her best friend, Nikki, at her side through it all. Here, Williams and Slate share with Gold Derby the experiences of filming such a gut-wrenching series, the toughest scenes they faced — and why it's a "master class in orgasms." More from GoldDerby Seth Rogen on taking big swings with 'The Studio': 'Are people just going to think this looks insane?' 'Disclaimer' star Leila George on how she landed 'the best job of her life' Emmy experts predict Drama Series race: 'Severance' out front, but watch out for 'The Pitt' Gold Derby: How are you feeling about the success of the show and the response to it? Jenny Slate: I feel very glowy about it. I feel happy. I feel happy for every single person who worked on it. I feel happy for Nikki and Molly, the real people. And also relief. When you do something you really care about that's a little bit of a tightrope, it's a big relief. Michelle Williams: Relief first. You truly have no idea how it's going to be received. And your experience of making it doesn't always correlate to an audience's desire to see it. Which is why you have to really have your own goals for yourself in mind, because you can't control or predict or even plan for an outcome, and so you really have to be comfortable with what you personally take away from it and your personal experience of making it. Because you can't control how it's received, but what you can try and pay attention to is the experience of 120 people that are united for a finite period of time towards a common goal. You can try and have some safeguards in that experience. So in order to control my anxiety about how it's going to be received, I really just try and focus on how is this workplace for 120 people? Do they feel safe? Do they feel respected? Do they feel like their voices are heard? Do they feel included? Are they well-fed? Are they rested? Are they getting their needs met? So that's where I focus, and then when something like this happens, I just breathe a huge sigh of relief, and then just walk in gratitude. SEE'Dying for Sex' reviews: Michelle Williams limited series is 'raunchy,' 'horny' and ultimately 'heartbreaking,' say critics I know it's just acting, but it does feel like you're best friends in real life. How did you create your chemistry? Slate: It did bleed. It did roll over into real life. We luckily do enjoy each other very much, and became real friends. It's weird to say it, because of course, we had to learn about each other and learn our lines and prepare our scenes, but that crackle of connection was there, which is really exciting and wonderful. It's everything. Williams: When we first met and Jenny walked out of the room, there was no conversation. It really was love at first sight. There was chemistry and kismet and karma all rolled up into one, and that was it. We were going to be together forever in these roles and onscreen. Our children are going to go to school together next year. It all continues. Slate: Although when I left the room, I was like, 'Was that what I think it was?' I didn't know yet whether or not I would feel like when Anne of Green Gables is put on trial and she doesn't know if she'll get to stay, What did it mean to you to see that representation of female friendship on screen? These two go through an incredible journey together, and they're always each other's person. Williams: What it really speaks to is how passionate female friendship really is, and that it's much more of a love relationship than a friend relationship. It's not a casual thing. It's a life-sustaining thing. We both come to it from our own best friendships, and we know what those have meant to us over the years. And so to see this brought out and made central in a storyline was something that we had both had experience with, and both wanted to make larger. Slate: The ease of being beloved with a best friend, not questioning that, maybe wanting to know what they see, or maybe wishing that you could always feel in yourself the way they feel about you, I feel it with my best friend in my life. I think it's really important again and again to show ways of being beloved and primary with someone else that don't have to do with anything but allowing the most intimacy and the most change possible. It's such a lovely thing to put at the center of a story, and it felt so good to be in that pair in our scenes. SEE I would imagine you both listened to the podcast. What did you take away from it? Williams: I did. I listened to it a couple of times. At first, I just wasn't entirely sure why this thing was affecting me in the way that it was. I didn't know what kind of spell it had over me and why I could not even speak about the relationship between these two women without crying. And I was like, what has happened to me? What have they done to me? And that's really why I wanted to make the show. I was like, I have to figure out what this emotional core is that's affecting me, that's affecting Jenny, that's affecting Liz and Kim, and maybe it's just the four of us. But then when Rob [Delaney] signed on, I was like, "Well, it's affecting Rob." And then Jay [Duplass], and I was like, "Well, it's affecting Jay." I was like, "Well, maybe we're just a handful of weirdos that think this is right on." Turns out we're all a handful of weirdos, because the show is having this miraculous reach. What conversations did you have with the real Nikki? What did you want to ask her, and what did you take away from those conversations? Slate: Nikki really is very warm. She's giving. She's an open book. She doesn't appear to be scared to speak about her experiences. She's very respectful, like, "I don't want to say something sad to you, in case it will make you sad." I think she has a lot of respect for her own wide variety of experiences, but I asked her about how her grief felt when we started. It was the five-year anniversary of Molly's passing, but in the grand scheme of things, this is not a long time, and she shared what it feels like for her, and that it was kind of a wave form. Some days, she just feels Molly's spirit with her, and she feels they're always together, that they're always with each other. And some days, she said she does feel more of a sinking sadness, the weight of it. I asked her a lot about how she expresses anger. Because I do express anger in a more weird, repressed, withered way than in my life, than Nikki on our show does. Williams: It's so hard to get anything made ever, and so I think we were all kind of like warming our hands by the fire of this unlikely gathering. It was really a space of allowing trust, sharing, collaboration. It was not a, "Here's how it was, sit down and let me tell you a story, listen to me and do as I say." It was an honoring of these two women and their friendship, an honoring of how each of them took care of each other, supported each other, an honoring of this group of mostly women coming together, being given this opportunity to make something in a place, at a studio, in this moment in history. When you're on a set and you look around and you see this many women, you're like, it's hard to get here and to be given leadership. And so I think we were all in deep regard for this space that had opened up for all of us to collaborate and be our best selves at work. SEE Talk about working with Liz and Kim. How did you work with them to find the right tone for the show? Williams: You know, I kept asking them that, "What's the tone? What's the world I am inhabiting? How do I fit into this?" And then I realized, like, "Oh, the tone is Liz. It's Liz's tone." Slate: It's just watch her. It's watch her walk around and say stuff. It's such a funny combination. Williams: And that the tone is sometimes atonal, the tone is sometimes not harmonious. The tone is a clash. Don't be afraid of the clanging that sometimes life makes. It's possible for all these things to be happening at once. That's life. Slate: She and Kim both came from the theater, they're playwrights to start. When you get farther into Dying for Sex, and Molly is unlinking, it gets just so much more dreamy, theatrical. It has the comedy of people who really understand how to write hard, great, good jokes, and then also people who come from environments where it pays off to be experimental and admitting that we all have a psyche and that's really driving the rig. Flying penises! Williams: That was really a moment for me, when that script came in. You don't have all the scripts when you sign on, so it's a lot of surprise. Another script has landed — you're like, "Wow, I wonder what's gonna happen next." When I got flying penises, I was like, "This is the right show for me!" Slate: Wild, it really is wild. Michelle's dance — when Molly really finally feels her own forgiveness and power and everything else moving through her and that that becomes so physical. Michelle's dance is so incredible that is not, in my opinion, normal for TV. I have never seen that before, ever. And Michelle is one of the performers as a fan that I know will offer me something new that I haven't seen, and why I've always been eager to watch her work. What was the most challenging scene for each of you? Slate: I was really afraid in the scene where Molly is intubated. As myself, I really was uncomfortable with the medical equipment, really, and as much as I could put that into the performance, I remember feeling almost queasy to have to do it. And then in the scene where Molly is reading her notebook to Nikki in the bathroom, that story is, first of all, a true story, and not just true for Molly, but for so many people, and I found it to be very hard. In the scene, you need your levels, you need nuance. If I could choose, I would cry much louder and leave. It was very hard, and it was so beautifully read, and we needed quiet in that small bathroom, and I knew what the ending of the scene was. I'm so grateful for that scene. It's one of my favorite performances I've been able to be a part of. But it did break my heart a bit. Williams: I don't know what I would say was the hardest. Everything that happens is coming from that place, from that story. And so all of the scenes feel like they carry the seed of that. There's not really an easy day. Slate: Lots of beautiful, fun, worth it, filled with energy days, but no easy ones, I'll give you a chance to compliment each other. Michelle, talk about a scene of Jenny's where she just nailed it, and then Jenny, talk about one of Michelle's scenes. Williams: It would be impossible. It's everything. It's not just everything that you see; it's everything that you don't see. It's every single take, and they only use one. But that doesn't mean that there was only one good one, or one crackling one. There's just a lot of different ones. And this is the one that they chose to service the flow of the entire piece. But when you're really in the ring with somebody, I don't think that we were ever in a place where we were watching each other. It was every moment of every take of every scene, full commitment, full absorption, full integrity, full brain, full wit, full heart. It is like an onslaught of talent and commitment and bravery, and that's unwavering, so I couldn't pick nor was I ever in a place observing like that. Slate: That's the nicest thing anyone has ever said to me, and I'm so glad it was filmed! (Laughs.) I didn't get to see it on the day, but watching the sequence of Molly's different orgasms and the surprise, exhaustion, shock, the physical comedy was just like, oh, it reminded me of why I first wanted to see comedy and do it like it. It was so refreshing and funny. I laughed so hard and loudly, and I just remember being like, whoa. I've never seen that before. I've never seen it from this performer. I've never seen it in general, these orgasms are crazy, They're so funny. And like to see a character react to her own expressions of pleasure, but like shock. It is like a master class in orgasms. SEE'I cried a lot': Rob Delaney on the heart and humor in FX's 'Dying for Sex' — and Neighbor Guy's kick in the 'zone' The show is about death, it's about sex, it's about abuse, it's about cancer, it's about friendship. What do you want audiences to take away from it? Or is it all of the above? Slate: I guess what I've thought a lot about during filming and since, is my own fear of stasis, and that I thought I felt very threatened by the idea that, what if? What if something happens to me that's either too good or too bad, and I don't change anymore because I'm clinging to something that's already occurred. That fear just used to kind of mess with me. It didn't really have a greater function. And that is upsetting in itself, and I think that what Michelle performed so beautifully is Molly's really difficult decision to even admit to a wall or a stopping point or stasis and how gratifying it is to take oneself through and reject the idea that something gigantic that happens to a person negative or positive is so large that would block the entryway to any more change or progress. I want people to be excited about identifying what might be a stopping point or a definition that is entombing them in a way, and to decide to bust out if they want to. Williams: Damn! We have to end on that note. Best of GoldDerby Gary Oldman on 'Slow Horses' being 'an extraordinary show to work on' and 'one of the highlights of my career' Dan Fogelman and team on the making of 'Paradise': 'It only works if you have talented people who you trust' Brandon Scott Jones on CBS' 'Ghosts': 'I enjoy playing characters that are desperate' Click here to read the full article.
Yahoo
10-06-2025
- Entertainment
- Yahoo
Limited Series Writers on the Impact of Casting, Writing Emotional Journeys, and Finding a Tonal Balance
'Dying for Sex' co-creators, executive producers and writers Elizabeth Meriwether and Kim Rosenstock knew that establishing the tone of the show was always going to be hard. The limited series starring Michelle Williams and Jenny Slate is based on the true story of Molly Kochan, a young woman who is diagnosed with stage IV cancer. Together with her best friend Nikki Boyer, the two start a podcast about her journey. More from Variety David E. Kelley on Shaping 'Presumed Innocent' With Ruth Negga's Barbara as the Killer - Then Changing the Ending After Filming Began 'Nobody Wants This' Creator Erin Foster Says Kristen Bell Kept the Show's Production in L.A.: 'She Wants to Be Home With Her Kids' All About the Mother: Cristin Milioti Looks Back, From 'The Sopranos' to 'Black Mirror' and 'The Penguin' Molly, played by Williams in the show, doesn't plan on having a sexual awakening, but she does. And as she battles her illness, she explores her sexual desires and fetishes, empowering herself. Speaking during Variety's A Night in the Writers' Room Limited Series panel, Meriweather said, 'We decided to focus on the humanity of the characters and really not try to think about genre that much.' While the earlier episodes were structured around a comedic tone, Meriweather explained that over the course of the show, the tone got darker. 'The most important thing was honesty and allowing space for that,' Meriweather said. Speaking about the sex scenes, Rosenstock explained that the sex was never gratuitous. 'The sex was always doing something for the character. It was always helping her heal.' And while the showrunners wanted it to be hot and sexy, the North Star was that it was always doing something for Molly. The two revealed how they had discussed the idea of musical theater and how each song is used to move a character along. Said Merriweather, 'Every sexual experience she has is like a musical number. The song is supposed to take the character to a different place by the end.' Rosenstock went on to explain how Molly's bravery needed to be reflected in their writing. 'Part of what this character is doing is that she has this radical acceptance of, 'Yes, all these different ways that sex can look like and feel like, and ways that you can experience pleasure.' So, we needed to have that bravery in our writing and in the filming of it.' She went on to explain that if they cut away in the way that shows have that tendency to, 'We are also having shame around what we are talking about and what we are showing. And we wanted to make something that reflected the character's outlook on that.' Meriwether and Rosenstock were two of the writer-producers who spoke about their creative process on Thursday night at the Four Seasons in Beverly Hills. The limited series panel included Lauren LeFranc ('The Penguin'), Ian Brennan ('Monsters – The Monsters: The Lyle and Erik Menendez Story'), Olivia Milch ('The Better Sister') and Nikki Toscano ('Long Bright River'). LeFranc spoke about 'The Penguin' and Cristin Milioti, who plays Sofia Falcone. LeFranc revealed writing the character meant a lot to her, but she hadn't pictured an actor. 'I just knew this voice and I knew what I was looking for and needed.' When Milioti was cast, LeFranc knew she had her Sofia Falcone, and she could hold her own against Colin Farrell, who plays Oswald Cobb. LeFranc said, 'She's his antagonist in a lot of ways. And that this very complicated relationship and the character itself is very complicated. She has to be able to pull off something deeply emotional and you need to empathize with her, but she also needs a wit.' Milch talked about adapting 'The Better Sister.' The series is based on Alafair Burke's novel and stars Elizabeth Banks and Jessica Biel. Before taking the show out, Milch revealed that all eight scripts for the series had been written. It was a rare occasion, but it helped when bringing together the casting. 'There's a real gift in seeing the completion of that vision. But then that's where the collaboration starts with your actors, right?' She added, 'When you start understanding who your cast is, then you build a relationship with them in terms of the act of creation of who the character is. So your ideas about it start to be infused with who they are, with their ideas about it, with what you're finding together. And that evolution and that living, breathing reality of the creative process, that's where the good stuff happens.' In 'Long Bright River,' Amanda Seyfried plays a jaded Philadelphia patrolwoman Mickey Fitzpatrick in the Peacock limited series who searches for her younger sister, Kacey (Ashleigh Cummings), amid the opioid crisis in Philadelphia and sex workers being murdered. In casting Seyfried, Toscano said the actress 'undeniably transformed into this.' When looking for someone to play Mickey, she was looking for someone who could be undeniably raw, and Seyfried checked all the boxes. 'She's really willing to strip down and strip away from everything else. And we needed somebody that could have that snf was bringing this weird sort of guarded cop to life.' Toscano also made her directorial debut with the series, stepping behind the camera for episode 6. In discussing that experience, Toscano said she had been surrounded by an incredible group of women or men 'whose primary focus was to uplift women.' She also praised her all-female department head, explaining that it was never the intention to hire an all-female crew. 'The women just won the fucking job.' Brennan revealed how the labor strikes of 2023 impacted writing 'Monsters.' Netflix's nine-part series follows the real-life events of the Menendez brothers, Lyle (Nicholas Alexander Chavez) and Erik Menendez (Cooper Koch), who were convicted of murdering their parents in 1989. 'The Hurt Man' episode was written by Brennan and focuses on Erik as he opens up to his defense attorney about the sexual abuse he experienced. Brennan had noticed when watching the real-life court testimony on Court TV and the brothers were talking about sexual abuse, 'you literally can't look away 'cause it doesn't cut away…you can't break the tension.' And so he was inspired to do the same. He had the idea that the episode would be a single shot. Ryan Murphy, the show's creator, loved the idea. Except he had to write it before the strike. 'It was the most challenging artistic thing.' Brennan couldn't sleep and revealed, 'I went downstairs and then like poured a very large glass of wine and wrote the episode in one sitting.' Watch the full panel above. Best of Variety Emmy Predictions: Documentary Programs — Nonfiction Races Spotlight Pee-wee Herman, Simone Biles and YouTube Creators 25 Hollywood Legends Who Deserve an Honorary Oscar New Movies Out Now in Theaters: What to See This Week
Los Angeles Times
07-06-2025
- Entertainment
- Los Angeles Times
Limited/TV Movie Roundtable: Stephen Graham, Elizabeth Banks, Javier Bardem, Sacha Baron Cohen, More
Brian Tyree Henry ('Dope Thief') joins Jenny Slate ('Dying for Sex'), Renée Zellweger ('Bridget Jones: Mad About the Boy'), Elizabeth Banks ('The Better Sister'), Javier Bardem ('Monsters: The Lyle and Erik Menendez Story'), Stephen Graham ('Adolescence') & Sacha Baron Cohen ('Disclaimer') on the L.A. Times Limited Series & Television Movie by The Walt Disney Studios.
Daily Mail
03-06-2025
- Entertainment
- Daily Mail
Adolescence star, 15, wins big at Gotham TV Awards after getting the day off school
Adolescence star Owen Cooper won big for his portrayal of a young murder suspect. On Monday, Cooper, 15, became the winner of the Gotham TV Award for Outstanding Supporting Performance in a Limited Series. Cooper, who got the day off from school before attending the show, tied for the award with Dying of Sex star Jenny Slate, 43. Taking the stage to accept the gong on Monday at New York City, Cooper drew laughter as he thanked his parents for 'creating' him and heaped praise on his co-star Erin Doherty, 32, who played psychologist Briony Ariston and was also nominated for the same award. 'Main person that I have to thank is Erin, who is also nominated for this award. That episode that we did together, it was easy to do it with you and it was such an honor to share this, share this award with you. You deserve this award just as much as I do, so round of applause for Erin please,' he said, getting the crowd to clap. 'And I also want to thank Philip Barantini, Joe Johnson, Stephen Graham and I want to thank Hannah Walters. I just want to thank everyone that was part of the Adolescence cast and crew, everyone that was there,' he said. 'Who else, my parents for creating me. Yeah but that's about it. Thanks to Gotham awards for handing me this award.' Adolescence was nominated for four Gotham awards and won three of them -Breakthrough Limited Series, Outstanding Lead Performance in a Limited Series for Stephen Graham, and Outstanding Supporting Performance in a Limited Series for Owen (the fourth nomination was for Erin, who lost to her co-star). It's not the first award Cooper has received for his portrayal of the troubled young teen, with the actor also winning the Breakthrough Award from the IndieWire Honors. Cooper's role has also earned him a nomination for one of the biggest honors in TV - the Emmy Award for Best Supporting Actor. If he wins, the sensation would be the youngest ever male winner in the 76-year-old history of the 'TV Oscars'. Experts hailed the 'genius move' of placing Cooper in Supporting, as opposed to Best Actor, which they said would massively boost his chances of winning. Despite experts calling Owen a 'lock-in' for the award, the modest teenager recently said he was just focused on succeeding at school rather than winning awards. Owen Cooper accepts the #GothamAward for Outstanding Supporting Performance in a Limited Series: "I want to thank my parents for creating me." — Variety (@Variety) June 3, 2025 'That's, like, next-level. This time last year, I didn't know what I'd be doing. It's just crazy how fast it's come around. It's an honour to be even in that conversation for an Emmy. 'I just focus on what I've gotta do at the moment, you know? I'm focusing on school, so that's just all outside noise for me at the minute,' he told Extra TV. The Brit's main competition in his category is Javier Bardem, who starred in Monsters: The Lyle and Erik Menendez Story and was initially the bookies' favourite. Speaking to Gold Derby last month about the prospect of gaining recognition with awards, Owen said: 'If that was to be the case, it's definitely a massive achievement and it's the next step in my life. I'll just take it and move on. 'It's one of them things that will forever be there and I'll never forget it for the rest of my life.' And he deflected the praise back to the team who surrounded him on the show. 'It's all rooted from Stephen [Graham], Hannah [Walters, the producer], Phil [Barantini, the director], Jo Johnson the producer, it's all from them. I couldn't have done it without them,' he said. Cooper, who hails from a proudly working class estate in central Warrington, was chosen from 500 candidates for the role of Jamie. It was his first-ever acting job and no one in his family has a background in the industry. He is being supported on his meteoric rise by dad Andy, an IT worker, and mum Noreen, a carer. Brand and culture expert Nick Ede predicted Owen could follow in Timothée Chalamet's footsteps and become 'the toast of Hollywood'. He told MailOnline: 'The phenomenal success of Adolescence has taken the TV world by storm and critics have been raving about Owen's stand-out performance. 'The Hollywood elite love a rags-to-riches story and, at 15 and his first ever role, this young actor who was brought up in humble surroundings could soon become Hollywood's hottest property and follow the path of many other child stars who have become household names, like Millie Bobby Brown or Timothee Chalamet. 'I'm sure writers will already be presenting his agents with scripts and synopsis that will feature him. 'As he's so young I am sure he will be looked after and not thrust into the limelight without any support. 'Being a star in the UK is very different from being an international phenomenon. I am sure the offers will be rolling in from feature films to brand deals and beyond. 'He will probably feel a lot of pressure, but also feel a massive sense of achievement from where he has come from to where he is now.' The Emmy awards ceremony will take place in LA in September.
