
Los Angeles Times Wins Emmy for The Envelope Actresses Roundtable
Presented by Creamsource, the roundtable, which won in the entertainment category, features Danielle Deadwyler ('The Piano Lesson'), Cynthia Erivo ('Wicked'), Demi Moore ('The Substance'), Saoirse Ronan ('The Outrun' and 'Blitz'), Zoe Saldaña ('Emilia Perez') and Kate Winslet ('Lee') in conversation with former Times columnist Amy Kaufman. The group discussed the power of saying no, how box-office hits can prove creatively stifling and crying during press tours.
In addition to The Times' Envelope Roundtable video series, The Envelope portfolio includes year-round coverage online and via the L.A. Times app (latimes.com/envelope); seasonal glossy print editions available for purchase through Shop L.A. Times; The Envelope podcast; Envelope Live screenings and events; and The Envelope newsletter.
To learn more about the L.A. Area Emmy Awards and see the full list of winners, visit emmys.com.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Gizmodo
an hour ago
- Gizmodo
Orcas Pretend to Drown Each Other in Rare Training Session Caught on Camera
Orcas are called 'killer whales' (even though they're technically dolphins) for good reason. They're the ocean's top predators, hunting down everything from great white sharks to blue whales—the largest animal in the world. But orcas aren't born killers. It's a skill they learn from their elders and, as new evidence suggests, practice on each other. Parenthood, a new five-part BBC wildlife series narrated by David Attenborough, includes the first known footage of orcas learning how to drown their prey, as first reported by The Times. The training session is led by a matriarch and consists of one orca pretending to be the prey so the others can surround it and practice pushing its blowhole under the water. Video Shows Orcas Left Behind in Algae-Filled Tanks Months After French Park Shut Down 'Specialised underwater gimbals and tow cameras were used to bring cameras alongside hunting orcas underwater. This technology allowed the crew to travel at the same speed as the orca hunting pack and provided new insights into their behaviour,' a BBC spokeswoman told The Times. 'The practice-hunting behaviour appears to show members of an orca family submerging the head of one individual to prevent it from breathing—the technique used by killer whales to hunt large whales. This practice-hunting behaviour has never been filmed before.' The footage was captured near Western Australia's Bremer Bay, the same region where, in April, horrified tourists watched 60 orcas devour an endangered blue whale. After the practice session, the series shows the orcas using their skills while hunting a blue whale caught by surprise. Blue whales can hold their breath for somewhere between 10 and 30 minutes. Orcas training their young how to hunt is just one of many parenting moments featured in the wildlife series, which was filmed over three years in six continents and 23 countries. 'I think it's got all the feels—it's got great behaviour, it's got great emotion, it's got great humour, it's got relatable parental dilemmas. And it has a nod and a wink towards 'helicopter parenting' and 'snowplow 'parenting'—all those different terms that we bandy about as to what type of parent you are,' Jeff Wilson, the director, told the BBC. The series footage required 'an observational, non-invasive' approach, he added. 'We're very proud of what we've put on screen.' The show aired on BBC One on August 3 and is available on BBC iPlayer. We don't know yet when the U.S. release will take place, but I'm sure those of you in the States can't wait. After all, who wouldn't want to hear Attenborough's mesmerizing voice declare, 'Success for all parents has perhaps the greatest of consequences. It ensures the future of life on our planet.'


Los Angeles Times
6 hours ago
- Los Angeles Times
Rob Delaney on the ‘emotional budgeting' required to make ‘Dying for Sex'
Whether crossing the Atlantic to marry someone who's not all that into it ('Catastrophe'), sacrificing body parts to the schemes of a femme fatale ('Bad Monkey') or enabling a terminal cancer patient's dominant desires ('Dying for Sex'), Rob Delaney's become an expert at portraying men who'll do just about anything for their women — or man crush, if you throw in his 'Deadpool' appearances. Delaney first came to prominence making jokes on Twitter back when it could still be funny. He was previously nominated for an Emmy for writing an episode of 'Catastrophe' with co-creator and co-star Sharon Horgan. And now, with 'Dying,' adapted from Nikki Boyer and the late Molly Kochan's podcast about the latter's end-of-life erotic adventures, he's received his first acting nomination for playing Neighbor Guy opposite fellow nominees Michelle Williams and Jenny Slate. Delaney, who lives in England with his wife, Leah, and their three sons (a fourth child, Henry, died from a brain tumor at age 2½), spoke to The Times via video link while visiting his hometown of Marblehead, Mass. Does Neighbor Guy have a proper name? Not really. They thought about it and they just never gave him one. Unlike Nikki and Molly, Neighbor Guy is not one guy, he's an amalgamation of people and also some people they wished that Molly might have met. How would you describe him? He starts off as a real guy with neuroses and problems and foibles. He goes through a mini-enlightenment with Molly, who is so focused on the present and cognizant that her time is limited. Neighbor Guy makes the great decision to go along for the ride of the way she's living her life, and not to try to make it about him — and in so doing really benefits himself. While their dominant/submissive games generate a lot of humor, Neighbor Guy's not portrayed as a clown, as is the usual case for masochists in media. The real heavy lifting there would have been done by [showrunners] Kim Rosenstock and Liz Meriwether, who wrote it. The intent for him was to start as a slovenly, annoying neighbor, but under Molly's gaze transform into something more special, warmer and open. I was never worried about tone, the balance of humor, sadness, fear, anger and confusion. But were you ever embarrassed? Oh, sure. Masturbating with Molly on the other side of the wall and I'd catch a grip's eye while grunting or whatever. It'd be, 'Sorry you had to see that,' then we'd go eat bagels at the craft table together. How was working with Michelle? Everything you'd wish and more. She's really a kind person and an incredibly curious and generous performer. And she's very game for all the silly stuff, like making Neighbor Guy eat cake out of her hands. Styling each other's hair with lube in her hospital bed was kind of both wacky and lovely. Kim and Liz provided us with a great variety of scenes for our characters to get to know each other, challenge each other and help each other. Your sickroom lovemaking in the penultimate episode is like nothing I've seen before on television. We spent close to a week in that hospital room. Emotional budgeting was required. I did a lot of crying during takes and in between takes. That's the last stuff we shot together. By that time, I'd really gotten to know Molly the character and Michelle Williams the friend. So it was very difficult to watch her, at the height of her powers, dying. What do your characters from 'Catastrophe' to 'Bad Monkey' to 'Dying for Sex' have in common? I'm glad that my three biggest TV roles have been men who are striving, bleeding, failing, bargaining with women, because that makes the best stuff to watch. A man's going to work on a puzzle one way, a woman will another way. Work on it together, they can solve it. Or, alternately, kill each other. Either of those makes great TV. How has your 19 years of marriage influenced this work, and vice versa? 'Catastrophe' felt more like the first decade of my marriage, which was very confusing, trying by hook or crook to shed bad habits that I had. Now I've endeavored to be like an old dog who can learn new tricks, so humility has been the watchword for my second decade of marriage. You've coped with alcoholism, depression and catastrophic loss. Any lessons to impart? I'm almost 50, and now at least know that everyone has seasons of difficulties. I would say that acknowledging those realities ... I mean, it's not bad to be an alcoholic if you acknowledge it, don't drink and work through it. It's true I've been through some things that I would not wish on others. But the older I get the less unique I feel, which is great because nobody's unique.


Los Angeles Times
6 hours ago
- Los Angeles Times
The TV Academy is getting into the festival biz. What to expect from Televerse
The Television Academy's goal for its new festival is right in its name: Televerse. Set for Aug. 14-16 at L.A. Live's JW Marriott — across from the Peacock Theater, where the organization will host the 77th Emmy Awards ceremony a month later — the convention-style event aims to be all things to all TV lovers. 'As the medium continues to grow in scope, impact, and global reach, we saw an opportunity to create something new: a space that brings together our members, the makers behind the work, and the audiences who love it,' Television Academy Chair Cris Abrego said in a statement to The Times about the event's genesis. 'There are a number of television festivals out there,' adds President and CEO Maury McIntyre. 'But we feel we are uniquely positioned because our 30,000 members are the ones who are making this television. It makes sense for us to be the ones to curate something like this because we are the experts in this business.' Composed of some 26 academy-generated panels, an equal number of 'For Your Consideration' presentations for Emmy-nominated shows, sneak-peek screenings and an exhibit floor for activations and vendors, hopes are this initial Televerse draws enough industry pros and fans to make it an annual must-attend. 'We bring a different angle to how television is made,' says the academy's public relations branch governor, Christina Lee, who co-chairs the committee that's organizing Televerse programming. 'It's an even deeper peek behind the curtain than you would find at any other festival.' While nostalgia will play a part — in the form of 'Bones' and 'Queer as Folk' reunions — the festival will highlight below- and above-the-line crafts, along with developments in business and technology. An opening-night conversation with NBC/Peacock executive Pearlena Igbokwe, FX's John Landgraf and Netflix's Brandon Riegg will be moderated by Abrego. The festival climaxes with the 27th induction ceremony for the organization's Hall of Fame; this year's class includes Viola Davis, Don Mischer, Ryan Murphy, Conan O'Brien, Don Post and Henry Winkler. The 'Happy Days' icon will also conduct an acting class at Televerse. Winkler assures attendees he'll do better than Gene Cousineau, the 'Barry' acting coach he won an Emmy for playing. 'He didn't care about his students,' Winkler says during a phone interview. 'I had to teach Cousineau what the love lesson was! 'Anytime that young professionals who are working out their struggle to make a career get to mingle with those people you love to watch, only good can come from that,' Winkler says of his hopes for the event. Other sessions open to the public (starting at $30) and academy members ($20, with some free programming) include a story breaking/writers' room simulation with 'House of Cards' showrunner, 'Andor' writer and 'Severance' executive producer Beau Willimon; a scene-by-scene directing panel by nine-time Emmy winner Thomas Schlamme, who perfected 'The West Wing's' 'walk-and-talk' technique; live noise creation by Foley wizard Sanaa Kelley ('Shōgun,' 'Ted Lasso'), whose sound effects-making demonstrations have earned her more than 588,000 Instagram followers; and 'Game On: Inside the Booth With the Los Angeles Dodgers,' which explores how coverage of the World Series winners' games is coordinated with announcer Joe Davis, pitching legend Orel Hershiser and others on hand. 'We don't think any festival has focused on live sports yet, and it's a huge part of television,' McIntyre enthuses about the Dodgers panel. 'It's about our hometown too.' Other panels will cover everything from music supervision and casting to artificial intelligence. 'We want Televerse to start being the preeminent place where you can find all things television,' says producer Sabrina Wind ('Desperate Housewives'), Lee's co-chair. She added that enough ideas have been pitched by academy members to program years of future festivals. That's not even counting FYC presentations. Studios, networks and platforms have hosted such events around town for years, but this is the first time the TV Academy has sanctioned post-nominations FYC shindigs. Final-round voting for the Emmy Awards begins Aug. 18. 'Televerse allows us to do a second round of FYCs where everyone is on the same footing,' McIntyre says. 'They're all going to get about an hour, can bring in whatever talent they want, we're going to have a core focused group of members down there.' While they're pitched at Emmy voters, limited tickets to FYC panels will be available to the public. Academy members can attend two per day for free and buy tickets to more. Along with charging the FYC presenters what McIntyre characterized as nominal, administrative fees, Televerse is also selling exhibit floor space and seeking sponsorships. 'It is intended to provide another means of revenue for the academy, as we look to make sure that we are set up for the future of whatever comes for this industry,' McIntyre says. First discussed before COVID-19 and further delayed by the guild strikes of 2023, Televerse arrives with more than just finance and electioneering on its organizers' minds. 'We engage with our audiences every year for the Emmy Awards,' Lee notes. 'Televerse is giving us a chance to engage with our audiences outside of the Emmys.' 'People who do television love talking about great television,' Wind adds. 'I mean, who doesn't want to do this?'