Friday August 30, 2019

USA has renewed Queen Of The South for a 5th season.

Lifetime has canceled American Princess.

MSNBC has canceled Donny Deutsch’s show, whatever that was.

Alex Trebek is returning to Jeopardy! for a 36th season.

The Dark Crystal: Age of Resistance is now streaming on Netflix. I will be sitting this one out.

All 8 episodes of Carnival Row are now available on Amazon. “With a serial killer loose on Carnival Row, and a government that turns a blind eye to the deaths of its lower class citizens, Rycroft Philostrate, a war-hardened investigator, is the only person willing to stop the murders and maintain the fragile peace. But when Vignette Stonemoss, a faerie refugee, turns up in the Burgue, she forces Philo to reckon with a past he's tried to forget.”


Per Deadline, “[a] major change may finally be coming to the streaming sports landscape, New York Yankees president Randy Levine hinted Thursday after the $3.5 billion sale of the YES Network formally closed.

“YES, which will now be owned by the Yankees, Sinclair Broadcast Group, Amazon and three private equity partners. The new configuration positions YES well as sports viewing continues to evolve, Levine said during a conference call with reporters.

“The linear broadcast rights to baseball and other sports carried by regional sports networks remain a valuable draw for advertisers despite dramatic shifts in viewing in recent years. In the digital realm, though, change may be afoot. Rumblings have grown louder that the sport could be due for a reshuffling of how it handles streaming rights. Traditionally, the RSNs (including YES) have paid Major League Baseball a set fee for streaming rights, but the league is actively exploring a shift of those rights back to individual teams’ control. (MLB Advanced Media, renamed BAMtech, successfully anticipated the streaming revolution, powering apps like HBO Now before being bought by Disney and mobilized for Disney+.)

“Asked whether the YES deal signals Major League Baseball easing its long-firm grip on streaming rights, Levine didn’t answer directly but offered a small tease. ‘I think you should just stay tuned because I think the [MLB] commissioner will be speaking about that in the near future,’ he said. When another reporter pressed for more details, Levine said, ‘I never speak for the commissioner. … The commissioner may have something to say on that, and I think you should address [the question] to him.’

“During the 15-minute call, Levine praised the ‘great expertise’ of Amazon. Without offering specifics, he said, ‘We’ll be developing programs. We’ve got things in the works as we speak.’

“One ticklish aspect of the deal’s timing is that the new owners of YES have inherited a carriage dispute with Dish Network dating to July that also affects the 21 formerly Fox-owned RSNs. The sale of the non-YES networks, set in motion by the $71.3 billion Disney-Fox deal, was formally announced last week, with the new ownership group including Sinclair and Byron Allen. The carriage impasse has meant the Yankees’ march to the playoffs has not been seen on Dish’s satellite systems or Sling TV skinny-bundle service.

“Levine acknowledged the ‘changing environment’ for RSNs but said YES would be able to continue weathering it well. ‘Sinclair is a very important partner to us,’ Levine added. ‘They have great expertise. They’ll be working with YES management to try to get all of these distribution deals done. I never talk about negotiations in public and I would leave it at that.’

“Sinclair CEO Chris Ripley added, ‘We’ll all be partners together in figuring that out.’”


From EW: “After bursting onto film screens last year, holding her own opposite Reese Witherspoon, Oprah Winfrey, and Mindy Kaling in Disney’s A Wrinkle in Time, directed by Ava DuVernay, actress Storm Reid is back in theaters with a new Blumhouse film Don’t Let Go.

“Written and directed by Jacob Estes, Don’t Let Go pairs Reid with fellow DuVernay collaborator David Oyelowo as a niece and detective uncle both helping each other prevent the other’s death in what seems to be different timelines.

“On paper, it’s a lot to keep up with, but the 16-year-old actress was up for the task. ‘Working on Wrinkle and dealing with the time travel aspects in that really helped me not get so confused. But it was very confusing when we had to go on set the first day and I had just found out that I was basically dying. It was a lot, but it was good.’

EW spoke to Reid about the thriller out this weekend, as well as her thoughts on HBO’s Euphoria finale, and what may be next for her character Gia:

So I’m excited to talk to you about your new movie. The first thing that jumps out about me is that a lot of your recent projects like Don’t Let Go, Euphoria, and When They See Us are definitely dark, and your characters are struggling quite a bit. Are you doing OK after playing these tough roles?
I just try to pick roles that are very impactful and have a purpose, and evoke a conversation—even underlyingly—through the projects I choose to be a part of. I feel that with that there comes complicated characters and grounded characters, but I’m doing great. I’m glad that I’m able to play and portray these characters.

You and David Oyelowo’s characters have such a close familial relationship. What did you two do to build that bond?
I think it was just about spending time together on set, and we got to spend a little time together off set, just making sure that we built a connection between us so we can have a connection for Jack and Ashley. It was only about a four-week shoot so it was really short, but I’m glad that we were able to spend that time together to where we could have a close connection personally and a good connection on screen.

The film has some specific quirks between you and Oyelowo’s character, like a scene where you two have a drawing battle. How did you two develop those moments?
I can’t speak for Mr. David, but I do know with me, I tried to again not neglect how I would feel, and not neglect myself within my character. The drawing scene was definitely just me being me, having fun and drawing what I wanted to draw. I think it’s important to add yourself into your character to make it more believable for yourself as an actor, and for the audience to believe you as well.

You spend a lot of time on the phone with Oyelowo’s character in this film? How did you two make those scenes so seamless? I don’t imagine they were shot simultaneously.
It was quite easy because David and I made a deal at the beginning of [shooting] the movie that we’d always be on set together, even if we weren’t in the same scene, if we had a phone conversation that we would be on set in the same room or in another room to make sure that we did have that connection, and make it easier for communication because I feel like if somebody is across town, and they’re on the phone, it just won’t feel the same for you as an actor. So that’s what we did, and I feel like that’s what really helped make our connection more believable.

And what was it like working with Brian Tyree Henry? He’s in this movie quite a bit as your dad.
He’s so amazing, so funny, and so talented. I had watched him on things like Atlanta, so I was already a huge fan. Working with such a nice person was great, so I’m glad that I got that opportunity.

Having to shoot heavy scenes like your character dying, how did you stay in the right mindset filming that, or find a way to cut the tension?
Well, with all of my characters I just have to step outside of myself, and step into their shoes. Thankfully I haven’t gone through the experiences that Ashley has been through, but I also have to not neglect how I would feel in these situations, so that’s where all the raw emotion comes from. And then once the scene is over, and we were done with it, I have to step outside of the character and come back to myself and really say that this is not my reality, and that helps. I’m pretty good at just snapping back into being the joyous, happy person that I am after a rough scene.

With a movie like this that has a mysterious supernatural element at the center, do you want the film to answer what causes something like the multiple timelines, or do you enjoy when it’s ambiguous about it?
I think I’d want an answer, but I feel like in our movie, even though it’s a psychological thriller, I feel it’s very grounded and very real. It tries to answer the questions for not only Ashley because she’s very confused while having to basically save her own life, but the [scenes with the] red X and the gum under the table helps the audience figure out what was going on, and really prove to them that it was happening rather than us just saying it was happening. So I personally would like things to be answered, but some things I can answer on my own and I like when movies or television shows give me a clue or hint to where I could figure it out.

Like Euphoria, Don’t Let Go is a grounded film with a surrealist element to it. Do you seek out a lot of projects like that, or is that just purely coincidental?
I love the surrealism in the projects that I have done, and that I’m a part of currently, but I don’t think that has to be one of the main things that makes me want to do a project. Again, it just really has to be impactful, and has to match up with my morals and values. But I do love exploring the things that I’ve been exploring with surrealism in the projects that I’ve done.

What about  Don’t Let Go reflected that criteria, choosing projects based on your morals and values?
I just love that even though it is a genre piece, a psychological thriller, I feel like our movie at hand is about family and unconditional love and sacrificial love, and I feel we all have people in our lives that we would go to the ends of the earth for. I really love that it had that message because even though there’s a lot going on, and it can get very wonky, and you could get confused at many points in the movie, you still have it in the back of your head like “OK these people love each other so much and they’re putting their life on the line to save themselves and their family. I would do the same thing too.” That’s what really got me, the groundedness of that love that you have for your family or your loved ones or whoever you would do anything for.

Do you watch the projects you’re in?
I do. I can’t watch them a lot. So if it’s a movie, the max I would watch it again—let’s just say they have a pre-screening for the cast and crew. I’ll watch that, and then I’ll watch the premiere, and then I may watch it two or three times after that, but I don’t think I could watch it a lot, especially within the time span that it came out, like back-to-back. I’ve only seen Wrinkle about three times, and of course, I’ll watch it again in the future, but I just can’t overload [on watching it] because I start to get uncomfortable watching myself.

And did you watch Euphoria every week? What’s your interpretation of the finale?
I did, yes. It was amazing because, of course, I knew what happened because of the table read. You know what happens and you can’t wait to see it, especially with an episode like that because it’s so intense and all the hard work that was put into it. I, at least, can’t really see things come to life off the page just while reading it, so to see it all happen in real-time was amazing. Our show, not to be biased or anything, is really great not only because it’s entertainment, but because we’re also having a conversation and trying to bridge the disconnect between people who don’t understand teenagers and what we’re going through. So I’m proud to be a part of Euphoria.

It was interesting too because of the fan theories about whether or not Rue was alive and one could say the finale plays into that idea without giving an answer to it.
Yes, our whole show is for your own interpretation, and I did see the things where people ask me if she was deceased or not, or if she had relapsed in the last episode. I feel like again, it’s for your own interpretation, and the questions that you may have specifically about the eighth episode will be answered in the first couple of episodes of Season 2.

If the show continues the frame it had in Season 1, where it puts its focus on one specific character for most of the episode, would you be excited to do an episode focused on Gia?
Yes, we’re working on that and trying to really just develop her character because the first season she’s just the little sister staying on the sidelines, but she’ll be older and she’ll really have her own opinion, and really become her own person. I feel like you’ll be seeing a lot more Gia in the second season.”


Per The Los Angeles Times, “[i]t’s a chilly night on the rooftop of a New York City strip club when four words entice Constance Wu’s newbie dancer Destiny into the maternal, couture-lined fold of Jennifer Lopez’s glamorous Ramona in Hustlers: Climb in my fur.

“Alas, Destiny’s hunger for cash and connection has a cost in the true-crime female-empowerment movie of the season, opening Sept. 13 following a world premiere at the Toronto International Film Festival the weekend prior, in which a stilettoed sisterhood of ex-strippers scheme to steal from their Wall Street clients after the 2008 financial crisis. (The real-life tabloid-ready tale ended in arrests, as documented in the 2015 New York Magazine article on which Hustlers is based.)

“To fans who know Wu best from television, playing an exotic dancer-turned-criminal might seem like quite a detour from Jessica Huang, the suburban sitcom mom she’s played for five seasons and counting on ABC’s Fresh Off the Boat. It’s only her second lead film role after portraying plucky rom-com heroine Rachel Chu in last summer’s Crazy Rich Asians, the Golden Globe-nominated hit that sent Wu’s Hollywood star skyrocketing.

“But Wu, 37, wanted the role so strongly she put herself on tape for writer-director Lorene Scafaria, to the mild bewilderment of her own agents.

“‘I was looking for a movie with a character that was deeply lonely,’ she said on a recent afternoon in the Times office, relaxing in a sundress and denim jacket, a cap pulled over her hair. She had noticed, and perhaps even felt herself, an overriding sense of isolation swirling in the zeitgeist.

“‘I feel like loneliness right now is pervasive because of social media,’ she said. ‘Some people aren’t connecting as much, or they don’t know how to do it in real life.’

“There was something else she was looking for too. After zooming into the spotlight as a rising Hollywood star and the anchor of two groundbreaking Asian American hit projects, she was on the hunt for roles that were multidimensional, human, complex.

“‘In every project I choose, I want a character that gets to run the gamut of a full spectrum of an arc,’ said Wu, whose Hustlers character, like the women around her, contains multitudes: The daughter of immigrants and a single mother herself, she’s a ladyboss in the making — until she’s left holding the designer bag. ‘Destiny has moments where she’s really funny, and moments when she’s really sad. Moments where she’s irresponsible, moments where she’s the only one who is responsible. That complexity is what I seek in any role, and this script really afforded her that journey.’

“Scafaria wrote the screenplay, imagining Lopez as the perfect Ramona, the ringleader set on turning the tables on the sleazy suits who underestimate women like her. Signing Lopez was the first piece of the casting puzzle for Hustlers, which STX acquired for production after a struggling Annapurna put the film in turnaround. (Annapurna head Megan Ellison remains an executive producer on the film.)

“The search for Destiny led to Wu, and then to the stacked ensemble, which includes Keke Palmer, Lili Reinhardt, Julia Stiles, Mercedes Ruehl, Madeline Brewer, Trace Lysette, Lizzo (and her flute) and Cardi B.

“‘Constance connected with this and wanted a shot at doing something that is obviously so different from anything we’ve ever seen her do,’ said producer Jessica Elbaum, who optioned Jessica Pressler’s original article for Gloria Sanchez Productions.

“As soon as they met, Scafaria and Wu clicked. ‘I saw that she has a fragility and a vulnerability and a sensitivity and a very deep core,’ said the writer-director. ‘She’s obviously a very gifted comedic actress, and she brought me to tears in Crazy Rich Asians, so she is an incredible dramatic actress too. But I think she has weight and chops. And when I met her, I felt that’.

“‘I couldn’t be more proud of her,’ Scafaria said of the actress. ‘She put herself out there; she tweezed those eyebrows up to 2007!’

“Filming began in New York this spring before STX, which has recently endured a series of flops including UglyDolls and Poms, fast-tracked Hustlers for a fall release. (Early tracking suggests the film could debut to the studio’s highest opening weekend gross ever.)

“To prepare for the role, Wu studied hours of interview tapes of Destiny’s real-life inspiration, former dancer Roselyn Keo, playing them on a loop in her trailer for reference. ‘When a culture at large judges you, in a way, there is camaraderie amongst each other because we know who we are even though they don’t,’ Wu said of meeting real-life strippers for research.

Hustlers aims to do justice to the unseen dimensions of these women’s lives.That’s why we make movies like this. These women are trying their best in a world that has not always been fair to them. That’s the hustle: trying to get that dream when you started out 10 steps behind everybody else.’

“She impressed costar and producer Lopez during a scene in which their characters, who become both business partners and close friends, begin to disagree on the limits of their increasingly volatile scam operation.

“‘There is a scene in the movie that we filmed early on where Destiny and Ramona get into a fight, and Constance really went for it,’ said Lopez in an email. ‘And I was like, “Wow! OK. She is a gangster. We are going to do this movie.” I think their story lines are fascinating because they start very similarly — same desires, same goals. But as they come more into their power and into more “success,” their stories and thus their friendship really starts to diverge.’

“Wu could have taken easier roads after her Crazy Rich Asians success. The Richmond, Va., native had chased the classic actor hustle for years, working in theater, on TV and in indie films before scoring breakout status on “Fresh Off the Boat” opposite Randall Park and Hudson Yang.

“Premiering in 2015, it was the first Asian American-led sitcom to hit prime-time in 20 years. By 2017, Wu had been named one of Time’s Most Influential People, buoyed by her vocal activism online and in the Time’s Up movement. The same year, she was cast in Crazy Rich Asians, which also made history as the first Asian American-centered studio film in a quarter century. In the wake of Crazy Rich Asians, Wu is now able to get projects green-lighted, such as the upcoming novel adaptation Goodbye, Vitamin, in which she’ll star and executive produce.

“But with great power and over 1 million followers on social media comes great accountability, a lesson Wu admits she was still learning earlier this year when she posted negative reactions on Twitter and Instagram to the news that “Fresh Off the Boat” had been renewed for a sixth season.

“The blowback was immediate. Wu quickly apologized and provided context, saying she was upset that she’d have to forgo another project. ‘My words and ill-timing were insensitive to those who are struggling, especially insensitive considering the fact that I used to be in that struggle too. I do regret that and it wasn’t nice and I am sorry for that,’ she wrote in a lengthy Instagram post.

“Though she didn’t go into detail at the time, it wasn’t another film but a play she’d been hoping to do — one in which she would have played a ‘not Asian-specific’ role and likely worked for scale — that Wu had to give up to return to her show, for which she is under contract for another two years.

“‘I had this moment of heat where I got upset because I had to give up a job I had been looking forward to and had been chasing for a while,’ she said of her self-described ‘Twitter fiasco.’ ‘It was moving to me how many people from the show reached out to me, and even on set ... to say, “Just so you know, we love you and we know who you are, and you didn’t deserve any of that stuff.” Because they also know that I’m an actress — I can be dramatic.’

“Actors admitting they’re dramatic? A rarity! She laughed. ‘I mean, that’s our toolkit, right? I’m dramatic. I’m emotional. But they also know that that doesn’t represent me because they have a hundred episodes of behavior that proves otherwise.’

“She also learned a lesson from the backlash: Her platform affords her a greater reach than she realized. ‘I’m not beating myself up for it, because I know me,’ said Wu. ‘But I don’t think I realized that people were paying so much attention to my Twitter.’

“At the time, she wasn’t sure the show would get renewed for a sixth season. Now, a part of her worries she’ll be blamed if Season 6 is its last. Still, Wu says, she regrets that her tweets affected others, including castmates, colleagues and ABC president Karey Burke.

“‘I like that people are expressing their feelings about it, because it improved my awareness of what it means to be a ... public figure,’ She paused, turning over the phrase. ‘I’ve had a back-and-forth about it. It’s the line between being a role model but also authenticity.’

“‘I think a lot of why people are lonely in this world is because they go through these Instagram feeds and everybody’s life is perfect,’ she said. ‘Nobody trips up. And sometimes I think, might it be good to see our heroes mess up a little bit and not always be perfect?’

“Imperfection is a quality seldom afforded those who carry the added mantle of representation. If Wu’s Asian American fans were particularly disappointed by her tweets, it may be because they were rooting for her to succeed, an emblem to champion in a Hollywood that’s still so slow to change. Can the public allow Wu to be fallible and human, still speak her mind, and learn as she goes?

“‘There is an expectation of the way that I ought to behave, and not just of perfection but of graciousness. And I am grateful. But am I elegant?’ she said with a laugh. ‘No. I think I can be verbally eloquent sometimes, but as a human, am I an elegant person? No.’

“As a wise oracle once sang, ‘A diva is a female version of a hustler.’ Yet Wu, who just filled out her summer by paying her own way to Hawaii to act in an indie film for an emerging Asian American director, found herself at the center of headlines during the Hustlers promo tour describing her as a ‘diva.’

“Wu considered the label. ‘A woman owning her power rather than being like, “Who, me?,” I think, is a threat to the patriarchy,’ said Wu. ‘I know some people were like, “Constance demanded top billing.” No, the script had me as the lead. But it’s a juicier story to say the other stuff.’

“‘I am grateful for my entire career,’ she said. ‘But the fact that my career has been historic shouldn’t necessarily be a call [to say to] me, ‘You should be so lucky’ — it should be a call to pay attention to the fact that this kind of thing shouldn’t have been historic. Me getting to play a fully human experience as an Asian American, that shouldn’t be historic. But it is. Let’s talk about the system, not whether or not I deserve to be in it and how I need to feel about it.’

“Wu reiterated that her platform, even if it comes with public scrutiny, is not something she takes for granted.

“‘I do think when you have a platform, you ought to make sure you use it as well and responsibly as you can,’ said Wu, who returns to TV with the season premiere of Fresh Off the Boat on Sept. 27.

“‘But,’ she continued, flashing a wry smile, ‘I want to be careful not to blow up my profile any more. If it happens as a natural extension of me doing the thing that I think I am meant to do, which is to be an actor, then I welcome it and I’m grateful for it. That’s not the part of myself I’m seeking to put energy into ... but it teaches me.’”


Judith Light is having a moment.

“From acclaimed stage work to recent Emmy-nominated turns in Transparent and American Crime Story to, now, her biggest film role in more than a decade, the actress, 70, is enjoying a career renaissance that shows no signs of stopping.

“Her newest project, Before You Know It, marks one of the most creatively exhilarating experiences of her life. Years ago, Light was invited to develop the indie film with writer-stars Jen Tullock and Hannah Pearl Utt at Sundance Labs; shortly thereafter, she got the call to star in the film. Before You Know It follows two sisters (Tullock and Utt) as they learn that their mother, Sherrell (Light), long-presumed dead, is actually alive.

“The role hit many buttons for Light: Sherrell is a soap opera star, much as Light was for a good portion of her career, and is fighting ageism within the industry. In the wake of her daughters’ discovery, Sherrell grapples with her own personal shortcomings and finds a shot at redemption.

EW caught up with Light about the making of the film, its release at a high point in her career, and what this moment in general feels like for her. Read on below. Before You Know It is now playing in select cities:

Let’s start with what drew you to this movie. How did you get involved with Hannah and Jen?
We were finishing up the fourth season of Transparent, and I was talking to Jay Duplass about doing film. He’s done a lot of film. He said, “You know what would be great for you, and great for them? If you ever got a chance to go to the Sundance Film Labs.” I said I’d love that. Literally, a week later… our casting director sent me a script. She said, “Here’s this script. It’s for the Sundance Film Labs. What do you think?” I said, “I’m in. I want to go.” I met Hannah and Jen, and we spent four or five days together in the mountains of Utah. Just working on the script. Talking to each other. Connecting. Talking about our lives. And where the script could go, where it needed to go. We started filming some things so they could really look at what it was going to look like on film. Then we did a full reading for a lot of people at Sundance. There’s this magic that happens there, with all of the people that were supportive of them in doing the film, in writing the film. We all kissed each other goodbye and said how great it was to be together.

They came back to me [later] and said, “We’d really love you to do this if you want to do this with us.” I was all over it! They’re total team players, they are open to taking notes on scripts and ideas — other people’s ideas, not just mine. And they are the future of film. To have been able to be with them and align with them on supporting them in this project, and to get to be a part of it and hang out with them, from the beginning to the completion of the film, was an absolute joy.

Sounds like such a unique process, too.
It’s a really unique process. Anybody who has any thoughts of doing film, the Sundance Film Lab is a remarkable place to be, and to have the space to work.

When it came to Sherrell and your character, what kinds of conversations did you have, specifically, in terms of shaping her?
It could’ve turned into a caricature in some way. That was something that was really important to all of us, that it not be that — or that, in some way, because this woman has left her children, that you didn’t hate her for that. That you understood. Whether you celebrated her for her choice of saying, “It would’ve been worse if I stayed with them because it would’ve been a disaster for everybody,” or whether you criticize her for the choice, we never wanted it to be that you hated her for that choice — or that you were turned off by her for that choice. That you could find some place where you could understand her. How forgiveness could happen. How things could be fixed. That was a really important step that we knew we had to find, not only in the writing of it, but also in the acting of it and in the directing of it.

You were also in a lot of soap operas yourself, earlier in your career.
That was something I’d been involved in for many years. So that’s how we tended to work through it.

It’s interesting the way the movie uses soap opera, too: The plot of it is soapy in a way, but it makes the premise feel very down to earth and lived in.
Yeah, that’s what I thought too. But it was really a focus of all of ours. That’s really how you shape something, how you work on something together. That’s important. They never took anything for granted. They were always on the side of making it realer, more expansive. It wasn’t that they were going deeper with the characters, they were going wider. They were allowing it to evolve out of who were the actors playing them. That evolution — it doesn’t feel off in some way, it’s integrated into the whole story.

Talk about your look in this movie, then, which at first glance is really over the top.
That had a lot to do with Hannah [who also directs]. Hannah’s able to do a scene, be in a scene with you as the actor, step out as the writer and rewrite something, then come back as the director and give you notes, then produce. She had a lot to do with that look. Again, making sure we were not making this character a caricature. She was very definitive about that: what the clothes would be, what the color palette would be, those soft, neutral pinks and creams. Then to see this character at the end — I guess we can’t talk about that yet. [laughs] I also knew that for time purposes that a wig was going to be essential. I have some really fantastic wig makers here in New York… We wanted it to be the kind of hairstyle that you see on a lot of the soap operas, that it was going to be something you’d recognize and understand and feel it, but that it wouldn’t be too much. We were always right on the edge of not having to be too much. That was true within the scenes as well. What does it mean to be a person who’s incredibly lonely — that you feel that loneliness from her in her life? We were always walking that very delicate, fine line.

I was struck by Sherrell’s story of getting pushed off her show, and the ageist component there, mainly because here you are in this great part, and it seems like every year you have this great new role that you get to take on.

So what was it like to dig into that story line? Did it hit close to home at all?
I’m not exactly sure how to answer that. I feel so incredibly fortunate and grateful for what seems to be happening for me. I guess what I would say is that I’m also expanding and widening — allowing myself to evolve, and leaving myself open. I find that in that, people are really moving in my direction. I’m working on something really fascinating right now, [Manhunt], for Charter Spectrum and Lionsgate. All of a sudden, since I’ve done Transparent for Jill Soloway and The Assassination of Gianni Versace for Ryan Murphy, people have begun to see me. There’s a sense that I’m coming into the best years of my life. There is something that is being generated around that feeling. I got to take on all of these new, different, and very interesting roles.

Now that you’re getting all of these new opportunities, what do you want to do that you haven’t done? What are you thinking about as possibilities?
It’s so interesting that you ask that. I’ve started to produce and put things together. My husband [Robert Desiderio] is a writer. He’s writing two projects that we’re working on right now. I have a couple of other films that I’m looking at producing. All of a sudden I’ve been open to this whole other world. It’s all new and different exciting. It’s not even like I’m taking risks. It’s that I’m opening up, expanding, a sense of life that I just didn’t have before. I don’t know how else to describe it; it’s one of those things that’s indescribable, but experiential. The minute I put words to it, it escapes me.

I would imagine that the experience of acting, this job you’ve had for so many years, has changed for you. What are you getting out of acting now?
It’s a thrill. I feel freer than I ever have. More open than I have. The respect I have for the people that I get to work with. The gratitude that I have for being able to do all of this. It’s not like I didn’t have that before, but now I experience it in a much more expanded form. Something about looking at the world from this perspective, being more mature now, and not chasing everything, but really allowing things to happen — and that means in my life and in every time I shoot a scene. There’s an allowance of something that I didn’t have an experience of, really, in the same way before. It started, really, when I was doing Ugly Betty and then when Transparent happened. Now working with Ryan and Jill. And now Hannah and Jen.”