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Los Angeles Times
20 hours ago
- Entertainment
- Los Angeles Times
‘Girlfriends' celebrates its 25-year anniversary with a free art exhibit in L.A.
Twenty-five years ago on Sept. 11, 2000, UPN debuted a comedy called 'Girlfriends' that followed the lives of four Black women living in Los Angeles. The show's creator, Mara Brock Akil, who'd gotten her start writing on shows like 'South Central,' 'Moesha' and 'The Jamie Foxx Show,' was tired of seeing out-of-touch depictions of Black women on screen. She wanted to raise a mirror to Black women and showcase them in their fullness as fleshed out characters who are ambitious, creative, messy at times and most importantly nuanced. For eight seasons until the show was abruptly canceled in 2008, viewers tuned in to watch the tight-knit friend group that included Joan (Tracee Ellis Ross), Toni (Jill Marie Jones), Lynn (Persia White) and Maya (Golden Brooks) navigate relationships, sexism at work, beauty, classism, sexuality and everything in between. Today, 'Girlfriends,' which was added to Netflix's catalog in 2020, is widely considered one of the most influential TV shows to affect Black culture. To commemorate the 25th anniversary of 'Girlfriends,' DCDG & Co., an L.A.-based fine arts agency, has teamed up with the cast and Loren LaRosa of iHeartRadio's 'The Breakfast Club' to independently curate an art exhibition that pays homage to the groundbreaking series. The showcase, which explores the show's core themes including sisterhood, ambition and self-discovery through photography, sculpture, paintings, an installation and more, will be on display from Friday through Sunday at the Line Hotel in Koreatown. Each artwork featured in the all Black women exhibition was selected by the 'Girlfriends' cast and LaRosa — all of whom are first time art curators. The three-day event will also feature an artist talk led by DCDG & Co. co-founder Delaney George on Saturday, which is open to the public. '[This] show deserves to be celebrated and if we in the culture don't do it, then we're just waiting for the powers that be or networks that are transitioning to a digital space,' says David Colbert Jr., co-founder of DCDG & Co. 'These moments might get passed up on.' 'Girlfriends: A Visual Tribute' is part of DCDG & Co.'s ongoing curatorial series called Iconic Visions, which invites individuals in various creative spaces like TV, film, music, fashion and sports to step into the role of curator. When Colbert brought the idea about doing the exhibit to his friend Brooks — whom he met at Frieze a couple of years ago — her response was an immediate yes. 'I always want to do something special for [these milestones] because it is a bookmark of everything that 'Girlfriends' has done,' says Brooks. 'We are still uplifting communities. We are still entertaining and empowering the daughters of the mothers who watch the show, so we're kind of raising generations of young women.' Brooks, who has been a longtime supporter of the L.A. arts community, says having an art exhibition to celebrate the anniversary was the perfect way to blend both of her passions. 'We are wearable art. We are visual art in the space of a TV show,' she says. 'This also inspired artists to celebrate how they see us as women of color, as women in a space of unity and connection, and what better way to be the springboard and the catalyst to celebrate what sisterhood looks like?' White, who's been drawing and painting since she was a child, had a similar reaction to being a part of the exhibit. 'When they sent me the links to the art, I literally got tears in my eyes,' she says. 'I was just really touched by the women and [their] different experiences.' 'Girlfriends: A Visual Tribute' also features a solo exhibition put together by DCDG & Co. cultural curator Erika Conner, which is a collection of photos of iconic Black women including Rihanna, Lil Kim and Naomi Campbell, taken by renowned photographer Cheryl Fox. While the main exhibition pays tribute to 'Girlfriends,' there's only one artwork — a mixed media piece by Jillian Thompson that uses acrylic, thread and collage — that displays the beloved friends group's actual faces. All of the other artwork draws inspiration from the show's aesthetic, style and themes. Among the artwork, which was made by artists from around the nation, there are multiple L.A.-based artists featured in the show including Brittany Byrd, McKayla Chandler, Tiffany 'Just Rock' Brown, Asari Aibangbee and Tumi Adeleye. McKayla Chandler, a multidisciplinary artist based in L.A., created an interactive installation for the exhibit called 'Mama's Hands Only.' The installation mimics a living room and features a couch, rug, an entertainment center with family photos sprinkled on top and an old school TV that displays episodes of 'Girlfriends.' The focal point of the installation, which hangs on a wall above the couch, is a large portrait of Chandler's mother braiding her hair as she's done since she was a little girl. 'To me it feels like connection. Any young, Black woman or Black kid in general can relate to sitting in their mom's lap and getting their hair braided,' says Chandler. '[The show] is really about these friends going through life together, going through different relationships and even bickering with each other, [then] coming back together. It's a very special bond that they have with each other, so [with] me thinking about showing my mom here and having this place for you to sit down, look through someone's old photographs and watch 'Girlfriends,' it lends to the nostalgic feeling of it all.' Although Tiffany 'Just Rock' Brown, a photographer based in L.A., primarily takes photos of men, particularly male rappers, she decided to submit a few images for the 'Girlfriends' exhibit because she grew up watching the show with her family. Her photo, titled 'In This Light,' that was selected for the show depicts two Black women embracing while on the set of Kendrick Lamar's 'Not Like Us' music video, which was shot in Nickerson Gardens. 'These girls are the epitome of what you see when you come to these areas, but they're also the inspiration for high fashion, for all those things that don't get acknowleged,' she says. It reminded her of the void that 'Girlfriends' filled when it debuted. 'I think there's beautiful representation of what [Black people] have done and what we've accomplished, and 'Girlfriends' is a true representation of that,' says Brown. 'Women that were dressed flawlessly. They were beautiful. They were successful. They were just living life and trying to find love, just regular stories. It's very much still a space that's missing [in television], but I think it should definitely be celebrated.' Like Brown, Brittany Byrd, a multidisciplinary artist from L.A., was also introduced to 'Girlfriends' at a young age. 'It was just always on in my house,' says Byrd. 'I just remember seeing Tracee Ellis Ross and I was like, 'Damn, she's beautiful!'' For the exhibit, Byrd created a piece titled 'Episode 17,' which is inspired by an episode in Season 4 titled 'Love, Peace and Hair Grease.' 'It's mostly about Lynn and her exploring her hair through her identity as a Black woman, but whether you're mixed or all Black, hair is something that is at the top of our minds,' says Byrd, who was still putting the final touches on her 6-foot painting. 'Whether it's done or if we're polished, we're always just kind of seeking those questions of validity through societal beauty standards when it's like we're as beautiful as we feel. So I want my piece to just evoke emotion.' As she prepares for opening night of the exhibit, Brooks says she's most excited to meet all of the artists and to see how all of the artwork comes together. One of her favorite pieces in the exhibit is a massive, hyperrealism painting by Alé Reviere. Fittingly titled 'See Through You,' it depicts a young woman's face, staring intensely back at the viewer. 'All of her features were just so us,' says Brooks. 'The texture of her hair and the expression on her face. There was a pain. There was a sadness, but there's also sort of this freedom and unapologetic look in her eyes.' She adds, 'Pieces like that just move me.'
Yahoo
3 days ago
- Entertainment
- Yahoo
‘Forever' Star Michael Cooper Jr. Is Taking It All in
Newcomer Michael Cooper Jr.'s experience on Mara Brock Akil's coming-of-age drama Forever has been life-changing. Based on the 1975 Judy Blume novel of the same name and told through a modern lens, the eight-episode Netflix series is an exploration of young love. Cooper plays Justin Edwards, an inexperienced and somewhat awkward L.A. teenager. More from The Hollywood Reporter Susie Wolff Is Putting the F(emale) in F1 'Overcompensating' Star Adam DiMarco Isn't Playing the Nice Guy Anymore Damiano David Is Re-Learning How to Trust His Gut 'One line Mara wrote in the script was that he has one foot in confidence and the other foot in insecurity,' Cooper tells The Hollywood Reporter over a Zoom call, explaining his character who also plays on his high school basketball team. 'I thought that was so beautiful that I was able to layer that in the show. To see [him] grow throughout was really special. That was a treat, as an actor, that Mara gave me.' After modest parts in 2022's On the Come Up and The Inhabitant, a character as resonant as Justin marks his first leading role is an additional gift, Cooper says. Below, the actor speaks with THR about Forever, being number one on the call sheet and who he looks to for guidance. What was working on like? What did the experience mean to you? The story itself is beautiful. It resonates with so many people. It's a coming-of-age story. Judy Blume is an amazing creator, and Mara Brock [Akil]'s adaptation, it hits home for me. There's so much connective tissue, whether it be being a Black man and his experience or being a young man and his first love, those are things that I was able to connect with. Even [the] journey with Justin and his specificity when it comes to ADHD, something I struggle with. Me and Justin aren't the same. We're completely different guys. But those are some of the things that really spoke to me, and it honestly altered my perception and how I view the world. Justin's such an emotional and vulnerable guy, and it seeped into how I perceive things now. It was a gift that I didn't think that I was going to ever receive from something like that, but it's been special. Can you share more about working on a show run by Mara Brock Akil? It's Mara Brock Akil, do you know what I mean? To be able to even be embedded in something of this measure and to work with her so closely, it really was an honor and an experience. She cares so much about her craft and about her story that it's palpable on set. It's this binding thing of passion and love for the story. The reason why I got into acting was of service. I think Mara understands that as an artist, it's not about you, it's not about self. It's how can we serve other people and how can we connect to them? How does it feel to be over the finish line with this season? Have you been reflecting on the experience? It's kind of crazy. There has been some lull time. When you're shooting it, your character kind of seeps in you a little bit. I was like, what is going on? To then come out of it, I went on a cruise with some friends to kind of center myself and to come back to me. ADR is something that most actors have to do, and I vividly remember stepping into the booth and Mara was in the offices in L.A. and she was on the mic. I was speaking in my normal voice, and she's like, 'No, no, no. You sound like you're a 25-year-old man from the club. I need you to up the octaves a couple.' I was like, oh, I forgot Justin's a kid. It's been this weird thing that we've created something, and now the world is about to see it. It feels vulnerable. There's no words to describe it, but what I can say is it feels like a very intimate experience and now we're just allowing the world to be let in. Given it's your first leading role, this project will likely be a touch point for you throughout your career. Are you feeling that when on set or is it just another day at work? Honestly, it just feels like another day of work, not necessarily thinking of the overall picture. You're so focused on who Justin is and how we can serve the story. You're not really thinking of anything that falls after. You're thinking of how can I put my heart [into it]? How can I put my soul and my best foot forward on a day-to-day basis? It's intense. I'm so new to this. You watch television, you watch movies, you're like, wow. But there's so much that goes on. It's taught me, as a young actor, how to protect my craft. It's taught me how to be able to pick up lines quickly or to work with anybody or act off of anybody. It taught me a lot about my emotionality and what I can give. It really, it stressed me emotionally, which was nice. It was nice to be challenged. How were you able to disconnect from your character while making the show? What I would do to treat myself, I would eat. I like to eat food, so that was a touch point of what I like to do. I like to explore different restaurants. Meditation was huge. Prayer was huge. Talking to family friends who know who I am was a huge part of counterbalancing the performance that I had to bring with Justin. Those were a little of my re-centering things. What part of the show are you most excited for people to see? The development of the characters from start to finish. They go on a rollercoaster ride. But I really do think you see Keisha and Justin grow and develop. Justin was such an awkward cat at the top of the show. One line Mara wrote in the script was that he has one foot in confidence and the other foot in insecurity. There's like this counterpoint. I thought that was so beautiful that I was able to layer that in the show. To see [him] grow throughout was really special. That was a treat, as an actor, that Mara gave me. How collaborative was this process? I would call Mara, and I would ask her questions about Justin in pre-production. When we were in production, she trusted us. She gave us the space to create, to fall flat, to be brave and be bold, make strong decisions, make wrong decisions, because [it's] important to make all the decisions so we can really break the barrier of fear; something that could potentially hold us back. How do you go about learning on set? Do you like being thrown into it, or do you consult anyone and gather information? I think I'm a little bit of both. Honestly. I'm very transparent. I remember at the very first table read, it was my first table read ever. I'm not sure if you're familiar with Number One on the Call Sheet, It's like a documentary that just came out. But I was number one on the call sheet, and I didn't understand the gravity of that. I looked to Karen [Pittman] and Wood [Harris], who've been doing it for a long time. I was like, 'Hey guys, I'm not professionally trained. I'm not classically trained. I've only been in this industry for two, three years. That's as long as I've been acting for. I'm scared.' They just gave me words of encouragement. 'You're here for a reason.' What do you like to do outside of acting? How do you decompress? I like swimming. I like going to the batting cage and batting with my friends. Hanging with friends and family. I love reading the Bible. It's my favorite book to read. Those are things that keep me grounded and keep me sane, especially in an industry that's so fast-paced and wants you to produce. Best of The Hollywood Reporter 'The Studio': 30 Famous Faces Who Play (a Version of) Themselves in the Hollywood-Based Series 22 of the Most Shocking Character Deaths in Television History A 'Star Wars' Timeline: All the Movies and TV Shows in the Franchise
Washington Post
07-06-2025
- Entertainment
- Washington Post
‘Forever' is supposed to be a teen romance. So why are Black moms obsessed?
The messages in my mom group chat kept multiplying. First there were 10 unreads. Then 12. Now 20. What episode are you on? Catch up! When can we discuss? Cocktails! We were all suddenly and unexpectedly hooked on 'Forever,' the Netflix teen romance adapted by executive producer Mara Brock Akil from the 50-year-old Judy Blume novel of the same name. Brock Akil had already painted the fullness of the Black experience on TV in both multi-cam sitcoms ('Girlfriends,' 'The Game') and hour-long dramas ('Being Mary Jane,' 'Love Is __'). Her shows offer dimension and something to chew on. It's no surprise that her sumptuous take on 'Forever' is teeming with Black life. What was surprising was how 'Forever' — a story known for tackling love and sex from two teens' perspectives — snuck up on us. We're middle-aged mamas after all. We should've been getting precious sleep that Thursday in May when the show dropped, not bingeing until 2 a.m. But hidden inside the show's meet-cute plot was an emotional snare rigged specifically for Black mothers. Set in Los Angeles in 2018, 'Forever' follows high-schoolers Keisha (Lovie Simone) and Justin (Michael Cooper Jr.) as they trip into a first love that's confusing, all-consuming and life-changing. But what continues to spark discussions among the Black women I talked to wasn't the drama between those star-crossed lovers from the opposite sides of the 10 freeway. No, they focused on the mothers of 'Forever' — particularly Justin's 'catastrophic' parent, Dawn, who reared her children from a place of fear, protection and a deep love that so many in my mom group recognized. For them, watching Dawn (Karen Pittman), an upper-class Black mother trying to safely and successfully launch her child into adulthood while navigating the meteors of adolescence and the minefield of being a Black man in America, was a gut check. It was like looking into an iPhone camera and a crystal ball, the images familiar and a little fear-inducing too. Is that what I really look like? Sound like? ''Forever' is hitting me hard,' messaged one friend, whose son is on the cusp on puberty. Another was particularly moved by 'how our dreams for our children and for who they will be can become their biggest challenges and obstacles,' she wrote. Others saw themselves in Dawn as the mother of neurodiverse son, an athlete, a child raised in privilege they didn't have. 'When I tell you I'm this mama!!!' texted another friend. When we first meet Dawn, she establishes herself as a mother who is 'not one of your little friends.' It's New Year's Eve and Justin wants to go to a party. But Dawn, husband Eric (Wood Harris) and their younger son already have family game night set up. Draped in a silk robe and holding court at their kitchen island, she grills Justin about this 'party' like a prosecutor: Was he invited specifically? Where is it? Who all's going to be there? Blank stare. 'No information, no party,' says Dawn, emphasizing her stance with a 'not gonna happen' hand slice across her neck. 'We got cops out here shooting Black boys like it's open season and I'm tripping?' Dawn says incredulously. Justin argues that some of his fancy private-school classmates don't even come home on the weekend. Dawn fires back that they're mostly White and he is most definitely not. The conversation devolves. Justin gets sent to his room, where eventually Eric, the straight-talking dad, throws his son a lifeline with some conditions. But the lines are drawn. Dawn's boundaries are clear. She isn't budging when it comes to her son. Why were we gobsmacked? It's not as if Black mothers haven't been fixtures on mainstream television, from Julia Baker ('Julia') to Rainbow Johnson ('Black-ish'). They've been single, married, widowed, poor, bougie, homemakers, doctors, lawyers and English professors. Sure, there have been a handful of Black TV mothers who occupy a particular social stratum on the small screen — married, professional, outspoken. Clair Huxtable of 'The Cosby Show,' to start. But Dawn — with her elite degree, quiet-luxury closet and type-A kung-fu grip on her son's future — felt familiar to us but distinct on TV. Not because of her CV (but there was that), but because her brand of parenting was so uniquely tied to her identity as a Black woman raising a Black son in America today. She isn't a Clair or an Aunt Viv or a Rainbow. 'Those characters feel real, but they also feel like a TV show, right?' sociologist Mia Brantley said. 'When you watch Dawn, there's a realistic aspect to her. I see my friends. I see my own mother. And now that I am preparing for motherhood I see parts of myself. I see conversations me and my spouse are having about raising a son.' The obstacles Black children and the parents raising them (particularly the mothers who still in 2025 take on the lion's share of the emotional labor) can't be resolved in three acts and three commercial breaks. 'There's a realistic nature to the way these conversations are being depicted. These conversations are messy,' said Brantley, who should know: An assistant professor at North Carolina State University, she researches Black mothering in the United States, particularly how women imbue their children with their own racial identity. Brantley said Dawn's heightened concern regarding Justin's physical (and emotional) safety could have been pulled directly from a chapter in her forthcoming book, 'Mothering on the Defense,' which examines the long-term affects that the stress of raising Black children can cause their parents. But the hypervigilance is understandable, Brantley said. The overprotectiveness that flat-out avoids milestones such as getting a driver's license or staying out past midnight is rooted in love. 'Mara did an amazing job of depicting what reality is like for Black parents,' Brantley said. Brittany Packnett Cunningham, an activist and mother of two, saw herself in both Dawn and Justin. 'Black upper-middle-class children are raised really tightly,' said Packnett Cunningham, who grew up in St. Louis attending predominantly White schools but whose parents did the 'extra work' of making sure she was rooted in African American culture. She had a stricter curfew than her White peers. The idea of a gap year? Pfft. The only colleges on the table were elite institutions. Once Packnett Cunningham started watching 'Forever,' she couldn't stop. Soon she texted her husband, Reggie, 'I need you to see this.' 'Forever' put a bullhorn behind the common conversations happening in living rooms in Baldwin Hills, Shepherd Park and Park Slope — about the pitfalls of sending Black children to mostly White schools, tasking your child with being 'undeniable' despite knowing how impossible that is, the adultification of Black girls, the genuine excitement that your Black son is dating a Black girl, all the specific anxieties that only Black mothers experience. 'There's just so much there about how our villages function for our children. To be able to access a story about that as a parent and as someone who was once young, dumb and in love is a really special thing,' Packnett Cunningham said. 'So much of this writing is just healing people,' she said. 'I'm prepared to watch is as many times as it takes me to get what I need from it.' Meanwhile, Pittman — Dawn herself — has seen your DMs, the good and the bad. She's gotten so many notes from women who love the character that the veteran actress is thinking of putting 'I am Dawn' on a T-shirt. (Among my mom group, she'd have some buyers.) 'Even if we don't always agree with what Dawn does, we do look at her and we think, 'Gosh, I understand,'' Pittman said. 'I'm deeply compassionate, where this woman is concerned. I know why she's making every choice she's making. I have a very serious take on her. I have a very deeply felt take.' Yes, Pittman has kids, including an adult son. What kind of mom does she think Dawn is? In show, the character says she's been told she has a 'catastrophic parenting style. I damn near have a panic attack if my child wears a hoodie.' But off screen Pittman struggled to define Dawn's mothering, which can be as soft as it is sharp. When Justin needs a mental health day, she recognizes it instantly and gives him space. And when he's shirking on his college application? She lectures him on being 'undeniable.' 'She appears to be very antagonistic in the story,' Pittman said. 'She presents as the villain. She must be, you know, heavy in the role. Her behavior must be much more … angular?' 'Elbows out?' I suggested. 'She's elbows out! And she has to be, you know. Dawn is the supervillain. And that's a steep fall to go, from the superhero to the supervillain,' Pittman said, explaining from her own experience what it's like to parent a young man versus a little boy. Your child's perception of you shifts. 'I'm telling you it's painful,' the actress added. Pittman, who is a series regular on 'The Morning Show' and appeared in the first two seasons of 'And Just Like That,' had been waiting for a role like Dawn. She wanted to play a very specific kind of mother. Not one who's marginalized in the plot, or limited to setting up punch lines for the funnier dad. 'We've been nestled behind our husbands as Black woman on American television, to support them and support the kids. But this character elbows her way to the front, you know what I mean?' For the actress, Dawn isn't alone in the cultural zeitgeist as a professional and outspoken Black mother — she contains some Ketanji Brown Jackson, some Michelle Obama. To that point, Pittman is also very interested in those other DMs she gets, from folks criticizing her character — she's way too aggressive, she's not submissive to her husband, she's racist because Dawn wants her son to date a Black girl. Obviously Karen is not Dawn, but she'll accept that award thank you very much. 'I feel like we could actually be having a cocktail talking about this,' Pittman said when we spoke. Funny she should say that. The same week Netflix announced 'Forever' would get a second season, the thread of the mom group chat was getting too long to read. We needed to process in person, so we congregated one Friday night after putting our kids to bed to process together until the wee hours. Of course our hostess had notes and talking points, and we kicked off what would turn into a late-night conversation by naming our favorite characters. We couldn't all say Dawn. But she was in the room with us, snacking on prosciutto and grapes, because we felt she was us. That was Pittman's goal. 'I want you to just lean in,' she told me, 'and before you know it you see you.'
Yahoo
06-06-2025
- Entertainment
- Yahoo
The 7 Best New Movies on Netflix in June 2025
There are some months when movies are not the primary benefit of having a Netflix subscription. This is not one of those months. June 2025 sees the streaming giant adding a cornucopia of classic and modern films to its repertory library, headlined by a series of Alfred Hitchcock classics that are accompanied by screenings in Netflix-owned theaters in both New York and Los Angeles. There are also plenty of recent hits to choose from, including arguably the laugh-out-loud funniest 'Saturday Night Live' movie to date, a feel-good LEGO music documentary, and one of the most exciting horror movies of the 2020s. More from IndieWire Mara Brock Akil on the Response to 'Forever': 'It Is a Privilege to Be Trusted That Much' Does 'Materialists' Satisfy as a Romance? Screen Talk Debates Celine Song's Film, Shares 'F1' First Reactions 'I Don't Understand You' Review: Nick Kroll and Andrew Rannells Kill It in Grisly Destination Rom-Com Keep reading for our 7 favorite movies coming to Netflix in June 2025. Best of IndieWire Guillermo del Toro's Favorite Movies: 56 Films the Director Wants You to See 'Song of the South': 14 Things to Know About Disney's Most Controversial Movie Nicolas Winding Refn's Favorite Films: 37 Movies the Director Wants You to See
Yahoo
01-06-2025
- Business
- Yahoo
Netflix Showrunners Talk Shop and Compare Notes on the Art of Pitching
The rituals of pitching, the magic of casting and the joy of working with mature actors were among the subjects tackled in a panel session featuring five showrunners who steer high-wattage series for Netflix. Mara Brock Akil ('Forever'), Mindy Kaling ('Running Point'), Molly Smith Metzler ('Sirens'), Eric Newman ('American Primeval,' 'Zero Day') and Michael Schur ('A Man on the Inside') gathered May 20 at Netflix's Tudum Theater in Hollywood to talk shop and compare notes. The session was moderated by Peter Friedlander, Netflix's head of scripted series for the U.S. and Canada. More from Variety What's Coming to Netflix in June 2025 Anthony Boyle to Play Sam Bankman-Fried Opposite Julia Garner as Caroline Ellison in Netflix's FTX Series 'The Altruists' Netflix's 'Dept. Q' Is an Emotionally Fraught Crime Thriller That Never Lets Up: TV Review The event came on a momentous day for Akil, as it fell on her birthday, and at a heady time for Schur, who celebrated the unveiling of his star on the Hollywood Walk of Fame last week. 'I did not, in all honesty, know that writers were eligible. So when I got that call, I assumed it was a prank of some kind,' Schur confessed. 'I was incredibly honored by it. I am very glad that writers are eligible. I think more writers ought to be part of the landscape of the town. Also this the first event that I personally attended where I was like, Oh this is what your funeral is like. All your old friends are there, and they're saying nice things about you.' The 'FYSEE' session focused on shedding light on the pitching and development process. Friedlander pressed the group for details of any personal rituals that they engage in for good luck on the day of a pitch meeting. 'After I vomit?' Akil said, acknowledging that she does not enjoy the showmanship that comes with selling shows to buyers for networks or streamers. 'I just want to write. I just want to get to the script,' Akil said. 'One ritual I do is [listen to] music. The playlist actually helps me write. It also helps me get the tone, get the vibe, get the texture and then just really relax me before going in and having to talk about it.' For Kaling, it's the opposite. Pitching her wares as a writer and producer can be an outlet for her as an actor. The multihyphenate who became a star on NBC's 'The Office' and Fox's 'The Mindy Project' has taken a break from being on camera since she became a mother of three (her oldest is 7). 'I haven't acted since I've had children. For me, even when it's this grim pitch over a Zoom and there's just like tiny smiling boxes. I enjoy the performance of it,' Kaling said. 'You get to be funny and tell a rehearsed story to six on smiling faces, passing a show. As a performer, It just feels like it lets me act a little bit.' Smith Metzler goes minimalist when she's trying to make a sale. 'I don't know if I recommend this, but I have one little ritual, which is that I bring nothing with me, because if it's in front of me, then I end up reading it. So my way of preparing is to do a lot of prep and then bring nothing.' Schur has a full-time, in-house consultant who provides invaluable feedback before he saddles up and takes his ideas to top buyers. His wife, fellow writer-producer J.J. Philbin, is a tough audience. 'She has a terrible poker face,' he said. 'When she's bored, she just is immediately, visibly bored. She doesn't know she's doing it, but her writer brain is saying 'No, this is bad.' And it's wonderful. Because then I'm like, OK well, this part of the pitch stinks, and I should cut it or improve it or change it or whatever. And then I get to the end, and she's like, 'It's so good,' and I'm like, 'You physically hated it. You hated parts of it. I saw you.'' Newman has been a pillar of Netflix since its earliest days in original programming with series such as 'Hemlock Grove' and 'Narcos' and its iterations. Drawing on his experience as a film producer in addition fielding multiple TV series in recent years, he reflected on the circumstances that make a buyer say yea or nay. 'Every executive that you're going to pitch to wants to say 'No' because it's safe to say no,' Newman said. 'There are a variety of reasons for someone to say 'No,' and again, you don't get fired for saying no, unless you said no to 'Star Wars' or 'Twilight' or something like that. You get fired for saying yes to something insane. And so I feel it's my job always to go in and say, 'Here are the reasons why it's safe to say yes to this.' Because I do believe that as much as it's safer to say no, there's nothing that feels better than for someone like Peter to sit opposite any of us and get excited about an idea that we're excited about it and safely say 'I believe in this.' ' Friedlander shared a general practice that he feels is important for people in his position in the era of Zoom pitch meetings. 'I'm very conscious of how people typing into their computers' during video calls, Friedlander told the panel. 'I have this thing where if I'm on the other side of a pitch, both of my hands will always be in the frame. … I try to show that you have my undivided attention. I'm not shopping.' Akil and others thanked Netflix for the support they've received to execute their creative visions (read: generous budgets). Akil's location-heavy adaptation of Blume's beloved coming-of-age novel 'Forever' transports the story to 2018 Los Angeles and revolves around the sexual awakening of two Black teenagers from different backgrounds. 'The challenges of falling in love, above the 10 and below the 10,' she said. 'It's anchored by the beauty of Los Angeles every day. We're telling an epic and intimate love story within a love letter to Los Angeles.' Among other highlights: Newman thanked Friedlander for buying 'every show I've pitched' and for having never 'made me feel bad when one hasn't worked.' Schur urged his fellow showrunners to seek out seasoned actors over the age of 75 for their shows. He's done so for 'A Man on the Inside,' starring Ted Danson and adapted from a Chilean documentary about an investigator who goes undercover in a retirement community. 'It was just very lovely and heartwarming to see how many legitimately great, funny people there are who are 82 years old and love to work,' Schur said. 'If you want to have a messy, semi-bad read-through of a pilot, hire a bunch of young people. If you want the most metronomically crisp, perfect read-through you've ever had in your life, hire a bunch of 80-year-olds. Those sons of bitches were all lines memorized, timing perfect and had clearly worked it all out beforehand. They were just on it. From beginning to end, it was a total joy to watch a large group of 75-plus actors kill it every day.' Akil emphasized how she sought to stay true to the spirit of Blume's novel even as she adjusted many aspects of the story. No corners were cut because 'Forever' is part of Netflix's YA content slate. 'One of the things I love about Judy Blume was that she didn't talk down to the reader. She treated the young person as a full human being,' Akil said. 'She took their issues, their concerns very seriously. And one of the things off the bat I knew is that this seriousness had to anchor this YA show.' (Pictured top: Eric Newman, Michael Schur, Molly Smith Metzler, Peter Friedlander, Mara Brock Akil and Mindy Kaling) Best of Variety What's Coming to Netflix in June 2025 New Movies Out Now in Theaters: What to See This Week 'Harry Potter' TV Show Cast Guide: Who's Who in Hogwarts?
