Author: Samantha Leffler

September 28, 2016 8:30am PT by Samantha Leffler

“Speechless”

The actress tells THR she is “proud” to be on a comedy that features a disabled actor in a lead role and commends ABC for bringing disability to primetime TV in a new way.

The series, which is written and executive produced by Scott Silveri (Friends), begins with Maya relocating her brood to Orange County because the school there is able to provide an aide for her nonverbal son JJ (Micah Fowler.) Thanks to the aide, JJ no longer needs to attend special education classes, but Maya’s fight to make the world more accessible for him is far from over.

In the pilot alone, Maya told off a group of boys mocking JJ, staunchly opposed the fact that the ramp her son uses to get into school is also used to transport garbage, and labeled the word “cripple” as “hate speech.” While Maya’s ferocity and devotion to her child might have intimidated some actresses, Driver delights in portraying a character who is brash, unapologetic, and unwavering in her dedication to her children. “There’s something great about wanting to address an imbalance. I’ve always felt that,” she tells The Hollywood Reporter.

On a larger scale, Driver says she’s “proud” to be part of ABC’s increasingly diverse programming slate — which also includes returning comedies Black-ish and Fresh Off the Boat — and applauds the network for its “fantastic” support. Driver also discusses how working with Fowler has changed her approach to acting, how Speechless distinguishes itself from other shows with disabled characters and more.

What about playing Maya DiMeo was so appealing to you?

I like the fact that she was presented to me as, ‘Nobody wants to do this because they’re all scared of how unlikable she is.’ There was a lot of difficulty around the idea of this character. I was also very interested in the challenges of the perception of somebody who has to fight very hard. Why is that unlikable? Why is her fighting so hard considered difficult? It’s been really interesting, I love her. She’s pretty unfiltered. She does say inappropriate things, but everybody says inappropriate things, and everybody ignores some of their children sometimes and treats the others better, and then the roles reverse. We’re not perfect, and imperfection is interesting as an actor.

Is there a sense of increased importance with this role because of the underrepresented subject matter?

I would love to say it’s only that, but that would sound a little self-righteous. (Laughs.) It’s an amazing role. I’m an actor and I saw it was very difficult, and I also did see the resistance other people were having to it. When I read it, I saw why it’s a challenge. The tone of the show is very difficult to capture.

Then you add in the social element where, in a way, we’re doing a show and Micah has cerebral palsy and is a special needs actor, but actually it’s promoting that as a normal idea. That’s what’s interesting. It’s a conversation-changer as well, where it isn’t this special case scenario, but rather just a scenario about a family and this family’s particular challenge.

In what ways can you relate to Maya on a personal level?

I’d jump under of a bus for my kid, I’d do anything. There is nothing I wouldn’t do for my son. I think if you feel that way about your children, you would advocate for them to the end of the world. If you added to that a child who is, perhaps, supremely excluded from most of the activities lots of other children experience, you’re probably going to fight twice as hard. It was not that difficult to identify with Maya. All you have to do is key into what it is to be a mother, how much you love your child and that there’s nothing you wouldn’t do for them. If my child were challenged, I’d do anything to make sure that was mitigated as much as possible.

Was Maya’s extreme passion and relentless drive intimidating to you at all?

No. (Laughs.) What was intimidating to me was really, really keying into what it means to advocate for a child who has challenges typical children don’t, and what that looks like. The funniest thing was talking to all the caregivers in the families I spoke to. Whenever you think you’re doing too much and fighting too hard, in my head as an actor, you’re probably just at the tip of the iceberg of what you actually have to do. You can’t really go too far because these women go too far and beyond every single day of their lives in fighting for their kids to experience a level of ordinariness we take for granted with our typical children.

In many ways Maya is similar to your character Fiona from About a Boy because she was also fiercely protective of her child. How has that show and role influence you?

They’re both mothers who are absolutely nuts about their child, but Fiona was a giant hippie. She was straining goat cheese and playing the ukulele and, clearly had some money to be living in one of the beautiful Painted Lady houses in San Francisco. Maya DiMeo’s family has no money, their house is a shit hole and it’s never going to be nicer. They’re poor and they’re probably going to stay poor, and that’s the very least of their concerns. Their concern is about life and about navigating life in their own way. It was a much simpler time for Fiona, a much simpler representation, but she was no less of a devoted mother.

Do you feel like playing Fiona first paved the way for you to play Maya now?

I think being a mother paved the way for me to play both these women. I feel like every woman should do exactly what they choose, whether that’s to have children or not have children, but if you’re playing a mother, there is something about having a child that gives you a fierceness and intensity about your love for that child. It informs your work. Henry [Driver’s son] is really responsible for my ability to do both of those parts with as much love and passion as I did.

Maya is a force to be reckoned with and a tireless advocate for JJ. What inspires that ferocity?

Motherhood is the inspiration, but so is the level of injustice you feel when you start actually hearing the stories about people’s lives with children with special needs. All their parents want is for them to experience what we would consider normal. ‘Normal’ is a dirty word in the disabled community because what is normal? But what I mean by that is, to have access to all of the things all children have access to.

Shows like Breaking Bad and Glee have brought us special needs characters before, but what do you think sets Speechless apart?

The kid in Glee didn’t use a wheelchair in real life, which I think is lame. Micah Fowler is a wicked actor. He has cerebral palsy, he uses a wheelchair, and he speaks — he’s not nonverbal — which is a big difference between him and the character he plays. He’s a fantastic actor, and I’m really glad an actor with special needs is getting to play a starring role in a comedy and killing it every week. That’s cool. That cannot happen quickly enough and I feel like it should’ve happened before, but I’m really glad it’s happening now.

I’m so happy ABC is doing this. It’s fantastic that they support not just the empty hashtag of diversity, but actually what diversity looks like up and running on primetime television. That’s really exciting.

Speechless joins Black-ish and Fresh Off the Boat as the latest ABC comedy to tackle some form of diversity. How does it feel to be part of a larger movement like that?

It feels really, really good. I think about networks and the power they have with the content they produce to beam directly into people’s kitchens, living rooms, and bedrooms. The idea that ABC is creating programing that’s not forcing a social message down your throat but definitely thinking about it and asking you to think about it, it feels like there’s consciousness going into it. I’m very happy to be part of that. I feel proud to take my son to work and tell him about what I’m doing. I feel super proud of the other shows on the network, and how they’re supporting us is phenomenal. I’ve never felt so supported by a studio and a network. It’s fantastic.  

How does working with Micah inform your performance?

What’s interesting about Micah is the level of presence and observation he has from his vantage point. There’s also a level of patience in having a conversation with Micah because it takes him longer to speak than you or I. He doesn’t speak as loquaciously as we do, but it is so fantastic to just slow the hell down and have a conversation that proceeds at a different pace. It also made me think about how I work, and how much is about listening and observing before you start making big decisions about performance. He’s a really interesting actor, it’s definitely teaching me about acting. He’s such a charmer.

What do you hope viewers take away from the show?

I really hope, first and foremost, they laugh. It’s a comedy. It should make you laugh, it should make you feel, and hopefully it will make you think, but not too hard. We’re offering up entertainment and I don’t think the social message is going to be forced down people’s throats. I think this is a show for everybody. It’s about a middle class family who don’t have any money, who move to a nice neighborhood so their kids can qualify to go to the good public school. I think that’s the story of many families in America today. It’s pretty simple in it’s roots, it’s a family comedy. I hope it makes people feel like they recognize these characters and I hope they laugh.

Speechless airs Wednesday nights at 8:30 p.m. on ABC.

Speechless

September 20, 2016 7:30am PT by Samantha Leffler

“Speechless”

Executive producer Scott Silveri tells THR he didn’t set out to be a voice for the disabled, but if he can change how people view those with disabilities, even slightly, he’s all for it.

The comedy begins with the DiMeo family moving to a rundown house in a good school district so wheelchair-bound JJ (Micah Fowler) can attend a school that will better suit his needs. Mom Maya (Minnie Driver) is a tireless advocate for her nonverbal son, and at times places his needs above those of her husband Jimmy (John Ross Bowie, The Big Bang Theory) and two other children Ray (Mason Cook, Legends) and Dylan (Kyla Kenedy, The Walking Dead).

“There’s a pride to who this family is and there’s not a shred of apology. They’ve got a little bit of a chip on their shoulder and it’s fun,” Silveri says. “I don’t think that’s something unique to living with somebody with a disability. A lot of families feel different, and that’s what we’re trying to tap into here — dealing with being different without apologizing for who you are.”

Silveri clarifies he didn’t set out to make Speechless to raise awareness about people with disabilities, but once work began on the show he knew he had to create something that accurately represents what life is like for disabled people and their families. To ensure the show’s authenticity he works with a team of consultants from the disabled community, who advise him on overused tropes that are best avoided. About half of the writing staff also has experience with disability, and Silveri even looks to Fowler — who has cerebral palsy but is verbal, unlike his character — for input.

“This isn’t a kid who’s overcoming anything, he’s just a kid,” Silveri adds of JJ. “If we have a point at all it’s that — he’s just a kid.”  

Below, Silveri also discusses how Speechless fits in with ABC’s increasingly diverse Wednesday comedy block, why humor is a crucial part of the show, and more.

Did you feel a sense of responsibility to bring this story to TV and raise awareness about people with disabilities because of your personal connection to the community?

The short answer is no. I didn’t feel a responsibility to bring this story to TV, but, once I decided to bring it to TV, I felt a deep responsibility to get it right. It’s really not a show that has its genesis in wanting to educate or open a discourse. These are all things that came later and are wonderful consequences, but this is very simply the case of writing what you know and trying to mine something that feels real and had some specificity to it from my own life.

The real responsibility is, if we’re going to do it, we better get it right. We better be informed about the lives of people like this, we better be respectful, and the best thing we do is make it funny. That’s what my life was growing up, and that’s what goes on in the lives of people I’ve talked to and read about. There are challenges that are unique to this situation and not easy, but it just becomes life and there’s a lot of lightness and fun in that life and in our lives growing up. We saw things that were tough, but I don’t think anybody laughed harder than we did.

But yes, because there are so few representations, for better or for worse, I think there will be the expectation that this show speaks for disability at large, which is really not my intention. At the same time, it’s really important to reflect the experience in an honest and respectful way, all the while chasing after all the jokes we can gobble up. (Laughs.)   

Are the plot lines easier for you to write because of your own experience?

It’s different. I worked on Friends for eight years and you do a lot of dating stories, but I didn’t know how to date! I met my wife when I was 18. (Laughs.) I managed to fake it for awhile. There is a lot of good, and a lot of hard stuff to writing a story like this. The hard part was, it’s where comedy writing meets therapy, and it’s interesting with the family dynamic. But it’s hard to sort out what’s just me vomiting stuff on a page and what’s a story that’s going to be interesting to somebody outside my family. Taking a couple steps away from it being my actual family made it a lot easier to write.

Still, my own experience made it easier because it wasn’t hard to think about where stories would come from on this show. It wasn’t hard to think of points of view. The other thing that made it easy is how little disability has been represented on television. Nobody has been into any of this stuff before. I feel like we’re the first ones to a lot of subject matter, a lot of story, a lot of scenes. It’s been fun for us to write that way and I hope people have fun watching it.

Why is humor so important on a show like this?

When I told people the subject matter, the response I’d get from some would be, ‘Oh I thought you were a comedy writer?’ But the response I got from people who actually had disability in their family or near to them was, ‘Oh please make it funny. Please tell me it’s a comedy.’ That’s what we’re trying to do here. It’s easy to mine drama from a situation, but let’s show the other side people don’t think about so much.

What makes the timing right for a show like Speechless? 

Both specificity and diversity are big parts of the TV making process right now. Cable, Netflix and Amazon, they’ve explored worlds you’d never see explored on network TV. I think because so much more is available, networks have an appetite to look for something a little bit different. Diversity means a lot of different things. It means racial diversity and it should absolutely include disability as well. I think it’s the natural evolution of the exploration of diversity on network TV. More than anything, I hope it’s just a story and a family people key into and fall in love with. There’s a timely component of it, but people love good characters and good stories, and that’s what we’re trying to beam out there.

How does ABC’s recent comedy success with shows like Black-ish and Fresh Off the Boat set the stage for Speechless?

ABC has a real sense of who they are and what they’re doing, and I really enjoy those shows. This show fits within those. It is going for the same feel as a Black-ish or a Fresh Off the Boat in that they’re not telling stories that are so narrow and focused only somebody in the Asian-American or African-American community can follow it. These are universal stories — coming of age, love, work, drama — with a little bit of specificity that gives them a lens through which most shows are seen, and a little spin most shows which have come before don’t have. That’s what we’re looking to do too. This is not going to be the wheelchair show, this is not going to be the ramp of the week show. We’re going to be telling all sorts of stories, but it in any given story you can bank into what makes the show unique. 

How important was it to have someone who actually has cerebral palsy play JJ?

It was a no-brainer for me actually, just because from a purely practical standpoint I wanted to do a show with some authenticity, and why fake it in such a terrific way at its core? There are so many ways to screw these shows up, I figured let’s not take the first one. Also, you wouldn’t want to have to constantly be coaching an actor through it, that’s the practical side. The other side is, it just felt right. I always thought that’s what we were going to do and I was waiting for somebody to come along and say, ‘Won’t it be a lot easier if we just went with somebody who doesn’t have a disability?’ I was so excited for the fight and I was so disappointed it didn’t happen. (Laughs.) I get to have so few arguments in which I’m right!

There are people who feel very strongly that a character with a disability can never be represented by an actor who doesn’t have a disability. That is not a deeply held belief for me, but what we did just felt right. Luckily we found somebody in Micah who made that a very easy decision to make. He’s just got such wit, charm, charisma, energy and all those great things. He’s a damn funny kid.

Since Fowler has cerebral palsy do you let some of his own experiences inform the character? Is he able to point out if something feels inauthentic?

Absolutely. Not only does he come to us and point it out — it doesn’t happen that much, we’re not that bad (laughs) — but we go to him preemptively and ask about certain storylines. Micah and his parents both have been very generous in sharing their own experiences because they care to get it right too. We all want to get it right, we all feel the responsibility to be true to the experience. We’ve spoken not only with Micah, but we have a couple of other people to whom we always refer. Micah’s a fantastic resource for making the show better and more real, and it doesn’t hurt that he’s really funny.

How inclusive is your writers’ room? What experience does the room have with stories like JJ’s?

We sought out a number of writers who have children or siblings with disabilities. I was looking for and met with some people with disabilities themselves as well, but we’re so limited with our staff on a first-year show it didn’t end up going that way. But that’s something I’m hoping to do in the future. About half of the staff has some link to that experience and that’s certainly helped us generate stories in that we know we’re starting from a place of authenticity and reality. But the thing that speaks more to how I hope the show will be received is how the writers without a direct link to disability took to the subject matter.

Our job here is to entertain and make people laugh. I’m not writing this show to change hearts and minds, but if at the same time we can dip a little toe in changing how people perceive someone they see who happens to look a little different and realize it’s not so damn foreign, that’d be fantastic and my mom would be very proud.

Shows like Breaking Bad and Glee have brought us special needs characters, but what sets Speechless apart?

I think Breaking Bad did a particularly good job, because [the disability] really wasn’t the issue. That’s a fantastic way to set something as normal and not to be dealing with it in text all that much.

I like coming at from a purely comedic angle. I like trying to find what’s funny in the experience week in and week out, but I’m not looking at how it’s different or how it’s perceived, because it really isn’t driven by the desire to make a statement. I’m trying to capture the feeling of a family that’s felt very familiar to me, like this family. I was more going for the feeling of this family than any exploration of disability.

Is there anything you’re not willing to tackle with regards to JJ’s disability?

I wouldn’t say there’s anything we’re not willing to tackle, but we made a decision early on to write him as much of a teenage boy as you would any other character. I knew I wanted to do a show with a character with a disability, I just wanted to make sure he wasn’t defined by it. My criterion was, if this kid’s got enough going on that he holds water without the disability, then it’s something to talk about. If not, forget it, because I have no interest in putting a kid on the screen who’s simply a prop or an engine for other people’s stories. He needs to have a point of view.

We also made a decision early on to really go at stories that are not about overcoming disability. There are a lot of tropes in the representation of the disabled on TV and in movies we wanted to avoid them. People have what they have and they’re going to have what they have. We don’t want the story to be about JJ overcoming something.

Speechless achieves a balance between humor and some tough issues people aren’t used to seeing be depicted on TV. How important is that balance when you’re crafting each episode?

I didn’t think it was important to do that, but it’s fun to toggle back and forth between tones on a show and deal with something serious and then something absurd comes from it. It’s a little bit of a writing challenge and it’s really fun not to limit the kinds of stories we’re telling and where they can go. We’re going for something that’s unapologetically silly and unapologetically sincere.

What do you hope viewers take away from the show?

When you spend a little time with this family you realize they’re not different from anybody else in any real and meaningful way, except they’re funnier.

Speechless premieres Sept. 21 at 8:30 p.m. ET/PT on ABC. Watch the trailer, below.
 

Speechless

August 23, 2016 11:00am PT by Samantha Leffler

Creator Zander Lehmann talks with THR about how season three will be lighter and funnier, with Val and Alex “more entangled than ever before.”

[Warning: This story contains spoilers from Tuesday’s season two finale of Hulu’s Casual, “The Great Unknown.”

When Alex began an affair with his ex-girlfriend Sarah (Britt Lower), who just so happened to be engaged to his boss (Mad Men’s Vincent Kartheiser), Val disapproved and went on an impromptu weekend getaway with her new boyfriend, Jack (Kyle Bornheimer), while Alex’s life rapidly spiraled out of control.

After the affair, Alex lost his company and the girl — who turned out to be better-suited for him in his mind than in reality. What’s more, he desperately needed his sister back in his orbit in order to gain control of his life. He tried to utilize therapist Jennifer (Kate Aselton) — who is one of his sister’s only friends — but Val was the one he really needed. After tricking Val into coming home, Alex threw her a surprise birthday and sabotaged her relationship with Jack.

Just as Val was about to leave and go back to her ex-husband (Zak Orth), whom she’d unexpectedly started hooking up with again, the duo’s ailing father, Charles (Fred Melamed), showed up unannounced and declared he wanted his children to euthanize him because he was in multi-organ failure.

The Hulu original’s sophomore season ended with Val, Alex and Laura (Tara Lynne Barr) — who was in the midst of a fling with a classmate and cancer patient Spencer (Rhenzy Feliz) — euthanizing Charles with a lethal dose of sleeping pills. Following Charles’ death, Val moved out of Alex’s house and into her own home with Laura, while single, unemployed Alex formally started therapy with Jennifer in attempt to work through the issues that have plagued him since childhood.

“The thought is, yes, they are moving forward and progressing [after Charles’s death] but they still are holding on to something they may not let go of,” creator Zander Lehmann tells THR of Val and Alex.

Below, he also discusses how Charles’ death is actually “freeing” for the family, how it will impact them moving forward, and why the siblings will never be truly independent of one another.

Alex, Valerie and Laura euthanize Charles together. How is his death going to impact each of them moving forward?

The wedding between Dawn (Frances Conroy) and Charles [in the season one finale] made them feel like they were stuck in something they couldn’t escape, that their past was going to come back around, and they were trapped. In a weird way, the death has freed them. It’s like the ending of a piece of their past they thought had always held them back.

My idea is by the shared euthanizing of their father, they are left to move forward out of their past and it’s wide open. That’s what we were building toward, the idea that anything is possible and 30 years of sabotage are freed by the death.

The symbiotic nature of Val and Alex’s relationship factors heavily into the back half of the season, and in some ways it mirrors Alex and Emmy’s (Eliza Coupe) connection from season one. Was that a conscious effort?

Yes, I think so. We have always, and this season especially, wanted our characters to go off and have these journeys, and then feel like there was this magnetism that pulled them back together where they couldn’t escape their orbits. Alex obviously sabotages Valerie by talking about Jack to Jennifer, and then Valerie comes back in and has to come to terms with the fact that she slept with Emmy in season one. It’s the idea that they are both actively sabotaging one another.

By the end of season two, they have a sad moment — they lose their father and they have to help him end his life. Yet that’s the thing that frees them and allows them to move on.

We want to play with the trope of Valerie finally finding happiness and all things are well, and she can go off and live her life, whereas for us, it was actually a sad moment, and the thing that made them take stock of their lives. It allowed them to say, “Maybe we should part and try to make this on our own way.” I love where it gets to at the end. I think it kind of mirrors the end of season one, but hopefully in a surprising way.

Val and Drew sleep together and Val hints there might still be something there, but she doesn’t tell Laura the full story. How might that impact her?

Laura is such a difficult character, because on one side she is the smartest person in the room, and on the other she has no idea what she’s talking about. Laura is trying to piece together her own relationship template based on what she’s seen from her parents, and what she’s seen out of Alex and Valerie. By seeing that Valerie is up to going back to Drew in the end, and is opening up her world and not reverting, hopefully that allows Laura do the same. Whether that is with Spencer or not is yet to be determined.

The thought is, Laura sees her mom progressing and moving forward in a positive way, and hopefully she can parallel that. We generally tend to parallel the Laura and Valerie stories because they are so intertwined, and Laura looks up to her mom. They try to help each other on their journeys, but they end up taking similar journeys. I expect in season three there will be more of Laura moving forward as her mom does. 

Will we see more of Jack in season three?

We are not sure yet. I love that character. I love Kyle Bornheimer, he is a joy to work with. When we originally wrote him in season two, the thought was he couldn’t be more than a one-off season character, but as we saw their scenes and their chemistry, believe me, it’s something we’ve discussed extensively in the writers’ room.

I love to see Jack and Val together in their scenes, and Jack is someone who also works well with Alex. I could see him coming in and being the other friend, just part of their lives. I just love what he brings to the dynamic.

The characters are more self-aware in the second half of the season than we’ve ever seen them before. How is that going to inform their actions in season three?

You can’t have characters that are in stasis forever. I felt like it was time for them to really figure out the problems they have been avoiding for now 22 or 23 episodes. By the end of season two, when they are able to confront those problems and move forward, what that’s going to allow us to do in season three is play a little more for humor, to have a little less of the heavy emotionality since they’ve come to terms with a lot of their problems.

I want to see them out experiencing life, I want them trying to live without each other. Ultimately, because they all love each other and because they are so self-suited, they are going to end up being in the same places. Hopefully, it will feel more comedic, and more fun, and not necessarily so heavy about how they have ruined each other’s lives for so long.

Alex has become one of Jennifer’s full-time patients, and usurped one of Val’s only friends. Is that something that could cause tension between them going forward?

It could, and it’s the same dynamic of Leon (Nyasha Hatendi) helping Valerie move into her new house. Alex and Val have basically felt like “Oh, we’ve moved forward. We’ve shaken off the patriarch who kept us together for so long and was so dysfunctional. How great.” Now the final images of the season are Alex doing therapy with the Valerie’s best friend, and Valerie moving in with the help of Alex’s best friend. The idea is that they are doing well, they are happy, but there’s also this inescapable feeling that they are never going to fully breakaway. They are using each other’s friends, and just swapping places.

Val toyed with leaving Alex’s house before, and in the finale she finally takes the plunge and gets her own place. Why is this potentially going to work for her now?

I don’t know if it’s going to work necessarily. If you watch season two and look at the beats between Alex and Valerie, they don’t spend a whole lot of the season together. They are living in the same place, but they are like ships passing in the night, and they’re trying to connect but unable to do it because of what Alex is doing to Valerie and her relationship with Jack, and what Valerie did to Alex in season one. When you clear that up and she has gone off to live in this new house, she’s expecting to move forward, she’s got a fresh start.

I think because of the tension that has stirred up with Alex, they are going to be in more scenes than ever together. Even if Valerie is living in another house, she and Alex will feel more entangled than ever before. I really want to make sure that Michaela and Tommy get more scenes together in season three, because they have such good chemistry. I want them to be on the same page in a way that we haven’t seen in 15 to 20 episodes.

How might Alex and Val’s separation at the start of season three impact the overall structure?

They can live apart, but still spend a lot of time together with the nature of Alex’s job — which he will need to find a new one — and Valerie’s more fluid work hours. Even if they don’t live in the same house, I imagine Valerie and Laura will be coming over to Alex’s house frequently, and Alex will be going over to her house frequently. I just don’t see a lull where they are really spending significant time apart, even if they are living in separate houses, so it doesn’t change the structure too much. I just want to get them together in new places, and I think even living in different places they are going to be able to do that.

Will we see them exist on their own? Is it even possible for them to be truly independent of one another?

I don’t know if the show will function with them purely independent of one another. In a relationship-based show, you want them to be happy on their own, but there’s also something that’s so gratifying when they’re doing well together. I don’t know exactly where the series will end up, but at the core of the show, that relationship has to remain intact. They can try to be independent, and they can certainly move forward, but they will never fully leave each other. Hopefully, by the end of this series, they either come to terms with that, or they do break away in a way that I’m not expecting yet. Time will tell, but so far it’s just so fun to see them together. I just love when they are in their world, and I don’t want to deprive the audience of that.

Casual season three will stream on Hulu in 2017.

Casual