HOTSEAT TV is ahead of the curve with em­brac­ing new voices ... but we still have a long way to go

Huddersfield Daily Examiner - - FRONT PAGE -

You won a Golden Globe, Prime­time Emmy and Crit­ics’ Choice Tele­vi­sion award for your role in sea­son one of The Mar­velous Mrs. Maisel. How do you feel fol­low­ing the suc­cess? WE WERE just not ex­pect­ing that!

I thought for some rea­son that my cat­e­gory (at the Em­mys) was af­ter I pre­sented, so I was very calm un­til they started do­ing my cat­e­gory, and I was like, ‘What the...?!’

It was to­tally over­whelm­ing in the most won­der­ful way. AB­SO­LUTELY. We live in an age of peak tele­vi­sion. There is so much good con­tent out there, there are so many shows out there that I love.

I imag­ine that any­one has to be pleas­antly sur­prised when some­thing breaks through. MIDGE is a woman who lives with joy, who lives with an in­nate sense of cu­rios­ity about the world and a de­sire to con­tinue to im­prove her­self within it.

The show is also about her rein­vent­ing her­self af­ter she al­ready thought she knew ex­actly who she was.

She hasn’t changed at the core but is finding out how to use her voice in a whole new way – that’s some­thing that feels par­tic­u­larly House Of Cards’ Rachel Bros­na­han, 27, won a host of gongs for play­ing the ti­tle role, Midge, in The Mar­velous Mrs. Maisel, about a 1950s house­wife who be­comes a stand-up comic. She tells

about what to ex­pect in sea­son two WE STARTED the sea­son in Paris, which was very strange be­cause New York is so cen­tral to the show. It was bril­liant, we spent three weeks there.

I can’t re­ally say what we were do­ing there or who was there ex­actly. But it was great, and I can’t wait for peo­ple to see that. IT’S so ex­cit­ing... I can’t be­lieve that peo­ple let us do this. New York­ers are not thrilled about it some­times. You can tell from watch­ing our show that Amy’s (writer Amy Sher­manPal­ladino) vi­sion is enor­mous. She loves big sin­gle shots, walk and talks, mov­ing through

space. SHE’S so smart. She so sharp. She’s a real cinephile; Amy loves movies, she loves sto­ry­telling and she’s well-stud­ied.Part of what makes her writ­ing so bril­liant is that ev­ery­thing is on the page. You can pic­ture the world so ONE of the ear­li­est women com­edy pi­o­neers in Amer­ica was the out­ra­geous Phyl­lis Diller.

The wild-haired funny woman made her de­but at the Pur­ple Onion Club in San Fran­cisco in the 1950s and gave the house­wife’s view of life with quips in­clud­ing: “House­work can’t kill you, but why take a chance?” TV IS ahead of the curve, in terms of em­brac­ing new voices and tak­ing risks.

But we have a very long way to go... to make the kinds of sto­ries we see in the me­dia re­flect the world we ac­tu­ally live in. So many sto­ries have yet to be told. IN THE con­text of how last­ing change is made, this mo­ment is still young. I think it will be a minute be­fore we start to see change ac­ti­vated.

Lu­cille Ball head­lined her own TV shows from the 1950s. She once said: “A man who cor­rectly guesses a woman’s age may be smart, but he’s not very bright.”

Straight-talk­ing New Yorker Joan Rivers also made her mark when she ar­rived on the com­edy scene and was writ­ing for Can­did Cam­era in the

In look­ing for fe­male di­rec­tors to work on The Mar­velous Mrs Maisel, we all came up with a lot of lists of amaz­ing fe­male di­rec­tors, many of whom were booked out for the next year, which is amaz­ing be­cause they are work­ing.

But there’s a big gap be­tween young women who are grad­u­at­ing from film school, want­ing to di­rect or write or pro­duce, and the ones who are ac­tu­ally able to cross that bridge.

What we re­ally have to fig­ure out is how can we lift up these new and emerg­ing voices, and give them the ex­pe­ri­ence they need to be able to keep work­ing on all dif­fer­ent kinds of sto­ries in the in­dus­try. early 1960s. She be­came known as the Queen of the Barbed One-Lin­ers and once joked: “Boy Ge­orge is all Eng­land needs. An­other queen who can’t dress.”

Fly­ing an early com­edy flag for Bri­tish funny women were the likes of Hylda Baker and St Trinian’s ac­tress Joyce Gren­fell.

Lan­cashire lass Hylda be­gan her ca­reer in the mu­sic halls and her com­edy cre­ations were fa­mous for their mal­a­prop­isms as they got words hope­lessly mixed up.

In the days be­fore stand-up, Joyce be­came fa­mous for her com­edy mono­logues and per­formed for Bri­tish troops dur­ing the Sec­ond World War.

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