TheWrap Magazine
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‘Scott Pilgrim Takes Off’ Creators Explain Their ‘Shocking’ Decision to Change the Plot Entirely
TheWrap magazine: How BenDavid Grabinski and Bryan Lee O’Malley brought Netflix’s animated “left-turn sequel” to life
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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 3
TheWrap 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 Memories
TheWrap 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 TV
TheWrap 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 Own
TheWrap 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 Noir
TheWrap 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 3
TheWrap 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 Star
TheWrap 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 Timelines
TheWrap 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 Giant
TheWrap 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 Meeting
TheWrap magazine: The comedian says he was “encouraged to go in pursuit of deeper truths,” for his Max special
