Emmys
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Maya Erskine Talks Fight Scenes, Couples Therapy and Not Taking It Personally on ‘Mr. & Mrs. Smith’
TheWrap magazine: As for a second season, “All I will say is I’m excited about where the story goes,” she says
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‘Ahsoka’ Star Rosario Dawson Knows Her Jedi So Well That Her Backstory Began Feeling Like Real Memories
TheWrap Magazine spoke to the actress about inhabiting the iconic “Star Wars” character
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20 Years Ago, ABC’s ‘Lost’ Premiered and Changed TV
TheWrap magazine: As a milestone birthday approaches, we look back on the landmark series set on a spooky island and exec-produced by J.J. Abrams
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Inside the Sumptuous ‘Shōgun’ Costumes That Tell a Rich Story All Their Own
TheWrap magazine: “It was really about understanding the language of the clothing of that period,” says costume designer Carlos Rosario
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12 Music Docs Dominating the 2024 Emmy Race, From ‘The Beach Boys’ to ‘Milli Vanilli’
More than a quarter of the documentary-special category is made up of music films, including ones on Paul Simon, James Brown and U2
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How the ‘Mr. & Mrs. Smith’ Cinematographer Captured a Sense of Moody Noir
TheWrap magazine: Emmy-winning DP Christian Sprenger achieved the series’ tactile feel by referencing classics like “The French Connection” while shooting mostly on location
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How the ‘Abbott Elementary’ Sets Expanded Beyond the School Walls in Season 3
TheWrap magazine: “You don’t want your show to be claustrophobic,” production designer Michael Whetstone says of introducing new scenery
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‘Avatar: The Last Airbender’ VFX Team Used Story as Their North Star
TheWrap magazine: With action sequences designed to function like dialogue, the VFX crew were guided by the idea that “story is king,” EP Albert Kim says
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Maya Rudolph Says Building Up ‘Loot’ Ensemble Elevated Season 2: ‘I Can’t Stomach Working Any Other Way Anymore’
TheWrap magazine: The “SNL” alum talks about getting to the “fun part” of leading the Apple TV+ comedy series
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How the ‘Monarch: Legacy of Monsters’ Editor Juggled Multiple Timelines
TheWrap magazine: For Nona Khodai, the series had to make sense to everyone, not just die hards of the MonsterVerse
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How the ‘I’m a Virgo’ VFX Team Made Jharrel Jerome a Giant
TheWrap magazine: Series creator Boots Riley “wanted to make it feel like it was made in the ’80s, maybe the ’70s,” says visual effects supervisor Todd Perry
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Ricky Martin Is Just Getting Started With Acting After Starring in ‘Palm Royale’
TheWrap magazine: The musician tells all about riffing with comedy greats Carol Burnett and Kristen Wiig and why he “wants to work like this forever”
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Alex Edelman’s ‘Just For Us’ Takes Viewers on a Bizarre, Enlightening Journey to a Neo-Nazi Meeting
TheWrap magazine: The comedian says he was “encouraged to go in pursuit of deeper truths,” for his Max special
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‘Girls5Eva’ Star Paula Pell Thinks the World ‘Desperately Needs White-Hot Comedy’
TheWrap magazine: The “SNL” alum explains what it’s like to revisit and mock the 2000s in her Netflix series
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How ‘Only Murders in the Building’ Pulled Off a Musical in Season 3
TheWrap magazine: “Why not populate the writer squad with the best of Broadway?” says Justin Paul, who worked with Benj Pasek, Marc Sharman and Scott Wittman on “Death Rattle Dazzle”
