TheWrap Magazine
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								For Anna Sawai and Hiroyuki Sanada, the Success of ‘Shōgun’ Is ‘So Surreal’TheWrap magazine: “I don’t know how everyone was feeling about it, but I was not expecting it to be this talked about,” Sawai says 
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								Carrie Coon Loves Playing ‘Sort of the Bad Guy’ on ‘The Gilded Age’TheWrap magazine: “People hate her. It’s glorious to play the character who wins at the end. Who doesn’t like to win? I love to win,” Coon says of Bertha 
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								Elizabeth Debicki Says Portraying Diana’s Final Days on ‘The Crown’ Meant Creating ‘Room for Surprise’TheWrap magazine: The audience knows how the story ends, so Debicki’s challenge was: “How do I create something that’s perhaps less expected?” 
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								How ‘Morning Show’ Newcomer Nicole Beharie Elevates the Drama and Brings ‘New Energy’ to Season 3TheWrap magazine: The award-winning actress walks through her character’s star-making moments 
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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 MemoriesTheWrap 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 TVTheWrap 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 OwnTheWrap magazine: “It was really about understanding the language of the clothing of that period,” says costume designer Carlos Rosario 
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								How the ‘Mr. & Mrs. Smith’ Cinematographer Captured a Sense of Moody NoirTheWrap 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 3TheWrap 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 StarTheWrap 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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								How the ‘Monarch: Legacy of Monsters’ Editor Juggled Multiple TimelinesTheWrap 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 GiantTheWrap 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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								Alex Edelman’s ‘Just For Us’ Takes Viewers on a Bizarre, Enlightening Journey to a Neo-Nazi MeetingTheWrap 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 














