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Billie Eilish proved that her first album on ‘Happier Than Ever’ was no coincidence.

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Billie Eilish proved that her first album on 'Happier Than Ever' was no coincidence.

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If you’re a big fan of the confessional pop songwriting school, waking up to the release of Billie Eilish’s “Happier Than Ever” will feel like Christmas morning. It doesn’t feel too neatly tied with a bow. Her 2nd studio album hits a sweet spot where mixed emotions about love and fame, and sometimes self-contradictory emotions, seem to pour out in real time, despite the complex production and vocal rhythm betraying the song’s secret. All work is done. An intersection that somehow looks perfectly formed and at the same time perfectly messy? For some listeners, it may be the happiest place on earth.

What it isn’t: Noisy, or even particularly mezzo most of the time. Eilish is running almost the arena from now on, as anyone would expect, but she and her collaborator brother Finneas have resisted the temptation to bring the message to the media with any flair. Fill a space the size of a hockey field. It is an album that feels more friendly than the first, and the first one came to me quite friendly. “Happier Than Ever” has some explosive moments. The second half of the title track, which is basically a wall of distortion, is definitely important. But what shakes the room like “You Should See Me in the Crown” or “Bad Guy”? no way. And that will be fine by most of the fan base already ready to lean on instead of a blast. Great headphone record. How it goes on the Fabulous Forum is something to worry about later.

The whole release might seem anti-emotional because so many parts of the album have already come out. Seeing how 6 of the 16 tracks had previously entered the realm and were selected and killed (5 singles, 6 colloquially “Not My Responsibility”, video), how many people would therefore see how many people would think by the time the release date arrives. I am-pieces about the Eilish world left in it. The answer should be: Much more. Exactly a year after “My Future” was released as a single, as the fourth track after three previously unheard songs, it’s a little strange to hear the new album sound like it’s being interrupted by a hit. collection. But Eilish has a voice that’s good enough to speak and charming enough to sing, so you don’t feel spoiled by all the crumbs throughout the album. With all that interim music and documentary and internet-breaking Vogue cover, she still doesn’t feel overexposed. (Note to other singers who might consider that it’s a good idea to never leave the public eye for her ubiquity: don’t try this at home.)

It turns out that “My Future”, which has just celebrated its one-year anniversary, doesn’t indicate where the rest of the material has gone. Yes, perhaps a fairly subdued tone and showcase of vocal stylist Eilish, which is not the usual feeling of satisfaction. “We All Fall Sleeps, Where Do We Go?” I’ve been hearing a lot about her since then. What made her a global sensation in 2019 is how she got in a better position and overcame the teenage demon with a powerful family support system. The sensuous oral maturity of ‘My Future’ solidified that impression. But how can you not like her if she doesn’t get mad to overturn Bruce Banner’s words? As it turns out, we don’t need to know, at least yet. “Happier Than Ever” is perhaps a title with multiple levels of authenticity and irony. Eilish allowed her to be happier…Er. But when it comes to her personal damage and our interests, it’s a pretty annoying record. The Grammy-winning single “Everything I Wanted” (which Eilish did not include here and left as a standalone) was information that she had some feelings for fame, and Eilish didn’t limit it here. Even an older man and a narcissistic boyfriend who took advantage of her youth can see that there remains uncertainty about how the categories might overlap. Suicidal thoughts and night terrors no longer appear as they did on the first album. In “Happier Than Ever,” 19-year-old Eilish, after self-harm, deals with the everyday insults she must endure when she knows she has to go on living. Fortunately, the components that make up a daydream can be just as exciting as a lucid dream.

It’s an old self-evident idea that artists spend their lives writing their first album, and then sometimes spending the rest of their lives writing about how unhappy their first album’s success was. It is often the best trap to avoid. However, Eilish works for her on a significant portion of the album. She uses a lot of sharp observation and self-perceived humor to go with her post high-level celebrity self. -Consciousness. The whole log isn’t about it, but she’s a very interesting self-narrator, so you’ll hardly care. “you… I feel like I’m always watching.” She whispers in the middle of “Not My Responsibility.” And it breaks down the fourth wall, so intense that you can feel the Irishness right in front of you, and looking behind you. That particular monologue deals with body shame, the lust of the male gaze, and all the double standards she handles, and I’ve taken the edit if you feel it’s a bit biased compared to the rest of the album. Most others are observational and conversational, but often speak in a serious manner. Repeated references to her stalker are nowhere to go, even Taylor Swift. The inevitable paparazzi (“News? News to whom? Am I really just like you?”); A semi-ludicrous, half-poignant acknowledgment that she signed the NDA before sending him into the night. All these details should theoretically make her less relevant, but counter-intuitively, it has the opposite effect. We all know enough about the celebrity trap at this point, and we can see that Eilish is accurately portraying how we would feel if we were in her position. It’s like a much more beautiful variation of “Curb Your Enthusiasm” featuring celebrities. The aggravation doesn’t seem to be really that far away from us.

It leads to perhaps the scariest position on the album. “Things I once enjoyed / now stay employed.” There is the worst fear of all musicians, or what they should be most afraid of. “Happier Than Ever” would be a sad album if Eilish actually felt really faithful to it when making music. But for all that snark and kvetching it’s a really enjoyable experience. There’s not a single cynicism that infects the love of sound she and Finneas have, and what you can do within the minimum volume levels of an almost silent, two-handed, one-man band activity. The dynamics are so subtle that “When We All Fall Asleep…” sounds like a show off record. Finneas has her own empirical moments as a co-writer/producer. The record-breaking effect of giving “I Didn’t Change My Number” an extensive outro is the kind of fun he can do professionally, and welcome when “Oxytocin” leans harder on the beat to get you up. Breath of hot air. However, most of everything here exists to make up Eilish’s voice and only goes up once or twice. She has refused to be referred to as a “whisper” in her songs, and although it usually means compliment, I can understand how she could take the term reductively. Her phrasing is exquisite, and even more jazz-like when her singing is filled with rock ‘n’ roll lightness or has the rhythm of a rapper. Finneas is also accumulating more of her own backing vocals than adding her own, but co-writing has a kind of “blood harmony” that’s more than a song. It seems to be the work of one author, not two. (This is almost unheard of in the modern age of 10-person co-writing.) The emotions may feel vague, but the final musical effect is sort of like watching a series of unfiltered, raw diary entries unravel. of your favorite font.

After all, it’s not just music that Eilish likes to save. She allows moments of true love and/or true lust on the album, with a few co-workers whose evenings with her may not have ended with an NDA. Or maybe her affections from “Billie Bossa Nova” or “Halley’s Comet” may now be fantasies, but “I Didn’t Change My Number”, “Lost Cause” and “Your Power”. In “My Future,” the awakening of self-love is still realistic, but in order to at least slightly offset the rise of “I made every moment of yours yours,” a little “stupid me, stupid making me fall in love with you” You benefit from having “me”. / Just leave me fucking alone” screams the title track.

Don’t let all this seem too solipsistic. And why? This is the basis of grand pop music. Eilish also has an eye for the big picture. “Everybody Dies,” as the title suggests, does a great job on the subject of death. “You should know / when the time comes / you may not want to go,” she told fans. Some of them are young enough and may not have considered this before… Then she ends the song by adding: “But it’s okay. / It’s okay to fold. / But you’re not alone / You’re not unknown.” And damn, if in these moments of comfort she doesn’t sound almost… maternal.

Needless to say at this point, let’s say anyway. WTF? Are you still 19 and developing your music like this? really? At the beginning of the album, Eilish sings: This is one of the only records of how Eilish got through her teenage years that it’s hard to tell if she’s joking or serious. If she feels like a veteran, that’s how we can reasonably feel about her too. Eilish has a spookyly precocious personality that makes us feel like we got to know him by spending a lot more time than we know. The fact that she’s still relatively young to become an artist is part of the thrill of “Happier Than Ever.” Even if you don’t have to think about her future for the record itself to be a happy reward.



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San Sebastian Film Festival: 10 Lessons to Learn

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San Sebastian Film Festival: 10 Lessons to Learn

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(This article was updated on September 17th)

In September of last year, San Sebastian created a small miracle and held a safe on-site festival when the second Corona 19 spread in Spain. On-site attendees will grow this year, but due to travel issues, cautions and costs in Latin America, the United States and Asia, the entire attendee will not be able to attend.

That said, this year’s festival, which runs from September 17 to 25, will be launched on all cylinders as a Spanish film shop, a new talent hub and launchpad for the local Basque industry. Here are 10 of the most important cinematic events in the Spanish-speaking world.

Star Power: Cruz, Banderas, Bardem, Depp, Cotillard, Chastain, Tucci, Peters
Penelope Cruz and Antonio Banderas attend the Spanish premiere of “Official Competition” and the world premiere of “The Good Boss” by Javier Bardem. Johnny Depp (arguably) and Marion Cotillard receive the Donostia Award for Achievement. Jessica Chastain is the only American film to compete in the US finals for ‘Eyes of Tammy Faye’, and Stanley Tucci and Clarke Peters to ‘La Fortuna’ to decorate the world premiere of Stars surrounded by crowds love San Sebastian. Their 2021 presence will be chosen, but still strong.

Genre: New Revolution
After Cannes Award-winning “Titane,” another French femme writer, Lucile Hadzihalilovic’s “Earwig” is certainly one of San Sebastian’s most anticipated titles. José Luis Rebordinos, director of the San Sebastian Festival, said, “Expect the enthusiastic response of female horror directors later this year.” But another revolution is taking place. San Sebastian was used to prime the straight arrow art house. The classic horror plays “Earwig” and “La Abuela” are now competing. Another Golden Shell competitor, China’s “Fire in the Plains”, is a thriller, just like “Daughter”, out of competition. “Writers no longer want to make genre films, they want to tell stories and use genres to achieve that,” says Levordinos. Genre author films are set to revolutionize Europe’s former art scene.

buzz title
The “Official Competition” was well received in Venice. There are good reviews for “Good Boss” and two first works by a woman. “As in Heaven” by Dane Tea Lindeburg is a female-focused, adult-era piece created with a modern perspective. And Romania’s Aline Grigore’s “Blue Moon” is a portrait depicting the toxic masculinity of a shady clan of modern hoteliers: sexist, authoritarian, violent, and self-pity. The topic of ‘New Directors’ is Mar Pecio’s “That Weekend”, a mother-daughter drama with a Western-style atmosphere. “Julieta’s” a prison-set romantic drama in a fantasy soap opera starring Emma Suárez, “Josephine” by Javier Marco in Spain; and “Rust,” written by Colombian Juan Sebastián Mesa, critiques the weakness and devastating aftermath of the rural economy.

Johnny Depp
When San Sebastian announced the Donostia Award for the “Pirates of the Caribbean” star, it sparked international outrage. Why win a prize for a person who lost a defamation lawsuit against the British tabloid Sun, for beating his wife? San Sebastian refuted that Depp was never arrested, charged with or convicted of sexual assault, reminding critics that he had always fought “inequality”. Now, in collaboration with (H)emen, Basque women’s association in the audiovisual sector and in the landscape arts, we will organize a festival workshop dealing with gender equality and the Depp debate. “I think there was a divide between people and groups who shared a common goal,” Levordinos said. Look forward to more gender initiatives in the future.

Movistar Plus: Raising Expectations for Movies and TV Series
The second highly anticipated San Sebastian title is not a movie, but “La Fortuna”, a six-part series produced by Movistar Plus, AMC Studios and Mod, starring Stanley Tucci and Clarke Peters “The Wire’s”. This is the first TV series of ‘The Arthur’ directed by Alejandro Amenabar. “La Fortuna”, a humorous adventure thriller that spans America and Spain, past and present, is the largest international co-production in Spanish history. The world premiere of “La Fortuna’s” San Sebastian comes weeks after Movistar Plus released photos of Alberto Rodríguez’s “Modelo 77”. Now, the key is whether Movista Plus will jump into film production with the same vitality it showed in the drama. We are definitely moving more to San Sebastian, creating the groundbreaking San Sebastian Virtual Cinema on the platform.

for business
Most of the French international industry will move into San Sebastian this year. Otherwise, it’s almost impossible. Venice Business turns the lineup. Toronto 2021 is paralyzed by travel restrictions. AFM plays online. Across Europe, producers and sales agents are desperate to sit at the same table as potential partners and customers. Much of the film business cannot be done with Zoom alone. San Sebastian is as close to Paris as Cannes, an easy train ride to the fabulous resorts. Expect significant French and continental European presence this year.

Local Heroes: Spain’s Mighty San Sebastian Presence
Fighting fears that a new subsidy system will wipe out domestic film production, San Sebastian 2021 boasts the strongest official selection Spanish film presence in years. Seven titles, four final competition categories, and an “official competition” straight from the Venice premiere.
But what’s really surprising about this year’s Spanish film lineup is the high production standards and remarkable diversity the film shares, Rebordinos says. It can be seen from competitors. Iciar Bollain’s post-Basque conflict reconciliation drama “Maixabel” is “openly political,” he says. Fernando León de Aranoa’s “The Good Boss” puts weight on work comedy, and Paco Plaza’s “La Abuela” looks much more mainstream, but is a tale of a nightmare relative. “Quien lo imide” by Jonas Trueba, a half-fiction-doctor, celebrates the vision and virtues of Madrid’s millennials.

hot ticket project
Launched in 2012, San Sebastian’s European-Latin American Co-Production Forum has quickly integrated into the festival’s industrial hub, forming the latest projects from many of Latin America’s most popular art house directors and producers. This year is no exception. Hernán Musaluppi is sponsoring Paula Hernández (“Sleepwalkers”) from Argentina, “El Viento Que Arrasa” from Storyboards from Chile, and “El Porvenir de la Mirada” from Sebastián Lelio Cristian Leighton. Brazil’s Desvia Produçoes is behind Johnny Ma’s “Chin-Gone”, “Alemania” is Tarea Fina, and “La Sucesión” is behind Pasto and Gema Films. New Argentine cinema icon Diego Dubkovsky creates “People of the Night” by Romina Pola. A strong lineup. We expect many of these titles to play at major festivals in the next few years.

Basque Talent Cultivation
There is Basque production, but Iciar Bollaín’s highly anticipated “Maixabel” is a sign of how much the Basque industry has developed over the past decade, with the news that Koldo Zuazua produced no Basque director in this year’s main competition. Top Basque Costume Kowalski Films. The strength of the Basque industry will be felt in many other ways as well. The San Sebastian ecosystem of the Festival, Tabakalera, Filmoteca Vasca and Elias Querejeta Zine Eskola is still growing. 2deoseriak, the latest high-performance drama series development lab, will be presented at the festival. Leire Apellaniz produced “Sacred Spirit”, which received high marks in Locarno. A new generation of Mikel Gurrea, Alauda Ruíz de Azúa, David Pérez Sañudo and Esti Urresola have films in the works. Public broadcaster ETB is immersed in premium fiction, yokeing Basque roots and innovations, and targeting a youth audience.

$1.9 billion in the Spanish AVS Hub
On March 24, Spanish Prime Minister Pedro Sánchez stepped up Spanish film and TV production, large foreign players set up filming and production centers in Spain. How it works is another matter. Details will be provided in a two-hour presentation at San Sebastian on September 21st. Rather, it is most likely packed. But the bigger picture is encouraging. José Nevado of Spanish producer assn said: “For the first time, audiovisual is on the agenda of the Spanish government. head. And in a big sense.



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Sundance Winner ‘Don’t Go Tellin’ Your Momma’, NYTimes Premiere

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Sundance Winner 'Don't Go Tellin' Your Momma', NYTimes Premiere

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The New York Times’ Op-Docs Initiative selects “Don’t Go Tellin’ Your Momma,” which won the Jury Prize for Nonfiction Short Film at the 2021 Sundance Film Festival, to be released at the NYTimes on September 14th. .com.

Directed by Topaz Jones and film production duo Rubberband (Jason Filmore Sondock and Simon Davis), the 38-minute film features Jones himself by presenting “The Black ABCs”, inspired by a set of alphabetic flashcards developed by black educators. Explore Jones’ education on identity. In 1970 it was used as an alternative to the commonly available European-centric educational tools available in Chicago. Jones created his own version of Black ABCs, updated for the lives of now black Americans, resulting in 26 scenes that served as companions to Jones’ musical album of the same name.

Winner of a Special Jury Award for Fantastic Storytelling at SXSW 2021, the film will premiere as part of Op-Docs, a short documentary series for the media company produced by an independent filmmaker.

“At the heart of ‘Don’t Tell Mom’ is a desire to preserve,” Jones said. “We found the joy of discovering new and creative ways to record life moments as long as we can speak to the spirit of many lives. We are honored to partner with a historical institution such as The Times to present a primitive and unconventional exploration of thought and memory as a documentary of the complex relationship of identity with early black Americans. I hope to inspire and see others discover their selves for the next generation.”

“We often think of creating a three-dimensional object in a two-dimensional space while making this piece,” said Rubberband. “People who love him have tried topaz-shaped holograms for those who love him,” he added. “In that sense, this film was an effort by the villagers who believed in our portrait of topaz and the process of making it. We keep talking about bringing movies home. We truly believe that the physical city and place this film belongs to exists in this world. Small nooks and crannies are carved where Don’t Go Tellin’ Your Momma’ fits. like Chicago. and Montclair. and 8th grade classrooms. And on a hot summer day, covered in sweat.”

Christine Kecher, Senior Commissioning Editor at Op-Docs, said, “We are excited to release a short film that pushes these limits on The Times’ digital and mobile platforms. “Op-Docs has been following the film’s journey since it premiered at Sundance earlier this year. We’re excited to partner with filmmakers to share this incredible work of visual and musical imagination with a global audience.”

“Don’t Go Tellin’ Your Momma” was produced by Smuggler in collaboration with Frenzy Paris, BWGTBLD GmbH and Section 80. Luigi Rossi is a producer along with Executive Producer of Kevin Storey, with creative direction by Eric J. McNeal and photography by Chayse Irvin. Op-Docs are produced by Adam Ellick executives.



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‘Queen’s Gambit’ Wins Night 1 at Creative Arts Emmys 2021

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'Queen's Gambit' Wins Night 1 at Creative Arts Emmys 2021

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“Queen’s Gambit”, “The Mandalorian”, “Saturday Night Live”, “The Crown” and “Pose” were among the top winners on Saturday. The first wave of this year’s Creative Arts Emmy Awards was presented in downtown Los Angeles. .

Netflix dominated the network and platform with 12 victories along with 7 trophies collected from the limited series “The Queen’s Gambit”.

The event was held in an outdoor tent at the LA Live Complex due to the pandemic situation. Due to the need for social distancing to prevent the spread of COVID-19, the number of attendees has decreased significantly compared to previous years. Those who attended the show in person were vaccinated and went through a lot of paperwork and on-site screening to prove that they had tested negative for the virus within the last 48 hours.

The “Queen’s Gambit’s” hall included awards for period costumes, period makeup, production design and cinematography for a limited series. It was emphasized that several of the program’s award-winning works are becoming increasingly international, with residents living outside the United States. “We’re bringing this baby to Berlin,” said Sabine Schaaf, “Queen’s Gambit” set decorator, as he lifted the Emmy.

The first presentation of the three Creative Arts Emmy Awards was also on the 20th anniversary of the 9/11 attacks. That milestone was also not lost by Keith Raywood, one of the “Saturday Night Live” winners of the variety series’ production design category. This was one of three categories taken by the venerable NBC Late Night Series, which is entering its 47th season this year. In his remarks, 37-year “SNL” veteran Raywood pointed out the parallels between the upheaval sparked by the 2001 attacks on New York and the Pentagon and today’s fight against the epidemic.

“We did our first show again two weeks ago, 20 years ago,” Raywood said of “SNL”‘s return to production after the attack. “It was then that I first realized that I did more than the show, but it was much more important in people’s lives. “It felt very similar to that moment last year.”

The biggest challenge for the staff was whether it was okay to laugh again or if it was okay to be funny. said Raywood. “The country was in shock and comedy could be very inappropriate,” he said.

Among the bewildered winners was HBO’s “A Black Lady Sketch Show” for photo editing for a variety show, where she battled Emmy’s lovers like “SNL” against fellow HBO series “Last Week Tonight with John Oliver”.

Winner Daysha Broadway, who leads the “BLSS” team, which includes Stephanie Filo and Jessica Hernandez, took note of what the trio meant for the top prize in the editorial category, a craft that was traditionally male-dominated, but also a notable springboard. Famous female cutters like Thelma Schoonmaker.

Broadway was moved by emphasizing how rare it is for a woman of color to achieve the highest level of success in crafts, let alone three women. Broadway said the recognition of her industry peers has shown that black and brown women have a variety of talents not yet seen on the world stage.

Broadway credited the star and showrunner for the show’s backstage diversity at every level, saying “Thank you for being you” to “BLSS” head Robin Ted. Backstage, Broadway urged others to get Thede’s signal. “I think it’s very important for people to build a diverse and inclusive workforce, while also listening to them and getting them to work when they arrive,” she said.

These career opportunities have already opened the door to potentially long careers in TV to the show’s many crew, craft and craft workers. It tells black and brown women, “We see you, we love you. You are not one.”

Naturally, FX’s “Pose” won three of the Style Awards, winning trophies in the Contemporary Makeup, Hairstyling and Costume categories in a very competitive year. The winners of the drama series, which aired for three consecutive seasons in June, were also touched by the show’s legacy of driving change and opportunity in the industry for the underprivileged, beyond the previously hoped for a career in Hollywood.

Hairstylist Tene Wilder, one of six on the team to win a Contemporary Hairstyling Emmy on FX’s groundbreaking drama “Pose”, said, “For a little girl from ‘The Hood,’ this is a dream.

lazy loaded images

The “Pose” hairstyling team celebrates behind the scenes. From left: Greg Bazemore, Rob Harmon, Barry Lee Moe, Tene Wilder and Timothy Harvey.

Barry Lee Moe, Head of Hair “Pose” gave a moving speech dedicated to the win to the transgender community. Mo said, “This award is for all transgender people who have felt abandoned and invisible in this world, but who have found the courage and strength to somehow survive each day despite the constant challenges that are thrown at the door every morning.” . “This award is for transgender people who carelessly steal and shorten their lives through ignorance, hatred and violence. This award is for transgender sisters and elders who have laid the very foundations on which we stand today.”

This year’s frontrunners, Disney Plus’s popular “Star Wars” spinoff “The Mandalorian” and Netflix’s “The Crown” were overshadowed by “Queen’s Gambit” on the crafty Night 1’s category slate. (2 more) The Creative Arts Awards Ceremony will be broadcast live on September 12, and the main event will be broadcast live on September 19.) ‘The Mandalorian’ won three awards including a 30-minute series single camera shoot and prosthetic makeup.

“WandaVision”, which won two Emmys for an outstanding production design for a narrative program (30 minutes) and outstanding fantasy/sci-fi costumes, gave Marvel Studios the first award. Costume designer Mayes C. Rubeo felt emotions while speaking backstage.

“As female managers, immigrants and Mexicans, we are working hard to get here.

‘Crown’ won two trophies in the single camera series (1 hour) shooting category and the drama series photo editing category. “Mandalorian” and “Crown” were top nominees this year with 24 bids each.

Apple TV Plus’ delightful comedy mastermind “Ted Lasso” added two more pieces of hardware to the trophy case, winning Emmys for photo editing and sound mixing. The series is a comedy leader this year, winning a record 20 Emmys in its freshman season. Most of the nominations for “Ted Lasso” will be picked up at the Primetime Emmy Awards ceremony on September 19th, which will be broadcast live on CBS.

Another memorable moment from Saturday’s Creative Arts presentation was a moment almost reminiscent of the 2017 Academy Awards, when hosts June Diane Raphael and Paul Scheer announced the erroneous Best Picture winners in the first place by presenters Faye Dunaway and Warren Beatty. Raphael and Scheer stopped themselves before sending misinformation into space.

“I feel this is not right. I feel bad.” Scheer was stunned on stage. “I was careful enough to know that this person was not a candidate.”

Afterwards, Raphael told reporters backstage that the moment was real and not scripted. “There were moments when I looked at Paul and thought, ‘Have we heard of that candidate?’” Raphael said. They had the correct card, but it turns out they were reading the wrong section. “I yelled at the accountant,” Scheer added backstage. “The best part of my night was being yelled at by the PricewaterhouseCoopers staff.”

The highlights of this weekend’s three Creative Arts Emmy Awards will air September 18th at 8pm on FXX.

(Pictured above: Deisha Broadway, Stephanie Philo, Jessica Hernandez, winner of HBO’s “A Black Lady Sketch Show”)



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