Entertainment
The gang goes to 'Abbott': How Quinta Brunson and Rob McElhenney made a crossover episode
There was a moment during the filming of the “Abbott Elementary” and “It’s Always Sunny in Philadelphia” crossover episode that blew Quinta Brunson’s mind. It was the first scene where the core casts of both shows were in the same room.
“The initial moment of all of us on set just rocked me to my core,” said Brunson, star and creator of “Abbott,” in a joint interview with her “Sunny” counterpart, Rob McElhenney. “You have to understand because I’m a fan — it was crazy to see all of you in the school.”
The very idea of putting these two shows together is a somewhat crazy idea that just happens to work. “Sunny” is the profane FXX series that’s set at an Irish dive bar and has been on the air for nearly 20 years. “Abbott” is ABC’s heartwarming breakout hit about the teachers at an underfunded public school, now in its fourth season. But they are both set in Philadelphia, which gave their creators the idea to do an old fashioned crossover, the likes of which used to happen on “Happy Days” and “Laverne and Shirley.”
The first part of the event is scheduled for the midseason return of “Abbott” on Jan. 8. It finds the gang of Paddy’s Pub forced to do community service at Abbott Elementary, a logical explanation for how a bunch of criminals end up around children. It will be followed later by a “Sunny” installment featuring the “Abbott” teachers that concludes the story — the 17th season of “Sunny” recently wrapped production.
Brunson and McElhenney got on a video call with the Los Angeles Times to discuss the process of bringing it all to life.
This conversation has been edited for length and clarity.
“The initial moment of all of us on set just rocked me to my core,” said Brunson, creator and star of ABC’s “Abbott Elementary,” with “Sunny” star and creator McElhenney.
(Marcus Ubungen/Los Angeles Times)
Quinta, what was your first experience with “Sunny”?
Quinta Brunson: Even though I was from Philly, I hadn’t actually watched. I came from a very Christian background where that show just could not have been on in my house. So it wasn’t until college — my freshman year in college — and I was in a dorm with my friend Lauren, who is [the person with whom] I discovered all my oddball humor things. We were big into Adult Swim, just the things we weren’t allowed to watch at home. And she was like, “Have you ever watched ‘Always Sunny?’ ” I was like, “You know what, despite being from here, no, I haven’t.” We binged, and it was hard to binge at that time. We’d torrent — sorry — the show from a website nonstop, and I think we watched seasons, at that point, maybe like one through seven. Wait, what are you on now?
Rob McElhenney: 47.
Brunson: No, I didn’t say your age. I said what is the season count.
McElhenney: 17.
Brunson: I couldn’t stop, and I thought it was insane and amazing. It made me proud. It’s how we feel about the Four Seasons. I was like, “I cannot believe this is in my city.” There’s a Four Seasons hotel in Philly that’s incredible. Sorry, just whatever. Anyway, keep going.
McElhenney: We should shill for the Four Seasons because it’s one of the greatest hotels I’ve ever been in.
How did the crossover start to come together?
Brunson: We met at the Emmys. And Rob and the whole “Always Sunny” team had just finished doing a presentation. The theme was TV shows throughout history. They went up there, which was honestly incredible to see. I think you guys made a joke about never having won an Emmy.
McElhenney: Yeah, the premise was TV shows from the past and we were like, “But we’re in the present. Why are we here?”
Brunson: Then I won an Emmy that night, which was really, really cool. And the first people I see backstage was them, and it couldn’t have been more fitting. The first person I saw was Bradley Cooper because he FaceTimed me, and that was right before we were going to film his episode, to say congratulations. Then I run into them, and so I was just having the most Philly [night]. It was so beautiful. I think the Eagles were playing at that time. It just was really gorgeous. Never met them before. Rob and Kaitlin [Olson, who is married to McElhenney and co-stars in “Sunny,”] had told me that they watched “Abbott,” which just made my heart very warm. I think we very quickly said it: “Our shows should cross over one day.”
McElhenney: We continued the conversation at the upfronts. Then it moved quickly past just an aside or a joke, and we started pitching back ideas right there.
Janine (Quinta Brunson), left, and Dee (Kaitlin Olson) in the crossover episode. (Gilles Mingasson/Disney)
“Sunny’s” Charlie Day in one of the “Abbott” classrooms. (Gilles Mingasson/Disney)
Was it just you two initially in the pitching process?
McElhenney: It was the two of us [and we] just had a basic premise, which would allow us to make both shows and have them feel authentic because obviously they are different styles of show and two different tones. But if we told the same story through two different tones, as seen through the lens of “Abbott,” and then as seen through the lens of “Sunny,” then we could satisfy both audiences. And then because there will be, I’m sure, a lot of people who have never seen “Sunny” before, that will see “Abbott” …
Brunson: And vice versa.
McElhenney: We wanted to make sure that we were making a show that would work for both of them. Once we kind of keyed in on that, it seemed like we could make it work. Then we got the go-ahead from Disney legal, which was a very important part of the process.
And then Charlie [Day] and I went into the “Abbott” [writers’] room and spent the day there.
Brunson: What was nice was they got it and [were] just such giving creators and so willing to get into the world. It was a dream. I’d work with them any day of the week, anytime. When they left, we were like, “That was really nice. It was really fun.” It’s not the most common experience in the world.
Was it always the idea to do one episode of “Abbott” and one of “Sunny”?
McElhenney: I think that’s what we keyed in on very early. That would be the most fun because we get to play the same characters in the tone of “Abbott,” and they get to play the same characters from “Abbott” in the tone of “Sunny.” That’s what will allow us to satisfy the authenticity of each show but then also stretch and do something different.
“Abbott” is a mockumentary so how did that affect how you would play the “Sunny” characters, Rob?
McElhenney: That’s what allowed for us to still be authentic and step into the world of “Abbott” because these characters are going into a school and they’re constantly monitored by cameras, so they would put on an act. If we’re not acting the way that our “Sunny” characters would, it’s because we know we’re being filmed and we’re putting it on the show. We might not use the same language. We might not make our intentions so obvious or known. We might not be wearing our id on our sleeves. Conversely, when they came over to us, we thought it would be fun to see what their characters would be like when the bell rings and the cameras are not on them.
Brunson: Our documentary is being filmed because they’re seeking funds for their school. So you’re going to put, probably, a better version of yourself. Then there are some characters who fit the same in both worlds, like Melissa and Ava, because they’re never really putting on for the camera. I think they’ve done something so masterful, not giving anything away, just with Dee [Olson’s character]. To me, when I first read it, I was like, “This adds another layer to all of this, that if you are a fan of both shows, you are going to have the time of your life.”
Brunson: “Our documentary is being filmed because they’re seeking funds for their school. So you’re going to put, probably, a better version of yourself.” (Marcus Ubungen/Los Angeles Times)
McElhenney: “If we’re not acting the way that our ‘Sunny’ characters would, it’s because we know we’re being filmed and we’re putting it on the show.” (Marcus Ubungen/Los Angeles Times)
The idea of “Sunny” characters being even remotely near a school is somewhat horrifying. How was that part of your initial discussion?
McElhenney: I feel like we came to that within three minutes of us sitting.
Brunson: I remember we talked about bigger Philadelphia events, right? But it also was: Why are we doing this if we’re not seeing them in the school environment? That’s what really feels fun. When you actually see them lined up in our school, it’s like, “Whoa.” Our show would need volunteers. They would have to be volunteering for the reason that they’re volunteering.
How did you think about matching the different characters?
McElhenney: I wanted to be with Janelle [James, who plays principal Ava]. I said that from the very beginning. I feel like she’s one of the funniest people on television right now. No offense to Quinta.
Brunson: I feel the same way. None taken.
McElhenney: I also feel like her character fits best with what we do on “Sunny.” I think it’s also her form of comedy is my taste as well. But I just feel like she’s so unbelievably funny, and I just wanted to be in a room with her for a few days.
McElhenney said he wanted to be paired with Janelle James, who plays Ava on “Abbott.” “I feel like she’s one of the funniest people on television right now.”
(Gilles Mingasson/Disney)
Brunson: I think the other matches came pretty organically. I didn’t set out to be in scenes with Kaitlin, but when it all panned out, I was like, “Oh my God, I get to do so many scenes with Kaitlin. I think Kaitlin’s incredible. I think she’s one of the most underrated comedic actresses. I think people should talk about her every single day,” and then getting to perform with her, I’d stand by that 10 toes down now. She’s so good. But when I found out I got to be in scenes with her as Dee — I was over the moon. Once again, this is where the “Sunny” stuff comes in handy — remembering that [both characters] went to [the University of Pennsylvania] — it was stuff like that that goes, “Oh my God, this is just naturally turning into something very, very, very good.” I think the other key pairing was Charlie and Barbara, which is probably one of my favorite pairings in the world. That becomes this beating heart, which is sweet because our show does have heart.
And the fact that it still got to have it in this episode in a way that I didn’t even predict. Those scenes moved me. They did.
Did you always know that “Abbott” would air its crossover first?
McElhenney: I think just by nature of the schedule. In some ways, you look at the “Abbott” episode, and it stands on its own, and it’s so great, and it’s a fully realized story. But then when you see our episode, it feels like it’s almost like a giant setup, and then this is the punchline. But then you can watch them in either order, and they both make sense.
Dennis, played by Glenn Howerton, is elusive in the “Abbott” episode. Not to spoil anything, but will things you tease in “Abbott” come to fruition in “Sunny”?
Brunson: Dennis is the key.
McElhenney: Yes. So when you see the “Sunny” episode, you’ll realize why we did that with Dennis.
Was there anything that you were like, “We should save this for the ‘Sunny’ episode. Like ABC standards and practices isn’t going to like this, but FX will be fine with it?”
McElhenney: There’s a joke in your episode that I cannot believe is going to make the final cut. Did I see the final cut?
Brunson: You did.
McElhenney: I cannot believe that that joke was made on your show.
Brunson: I wonder which one.
Movie Reviews
Movie Review: A Home Invasion turns into a “Relentless” Grudge Match
I’d call the title “Relentless” truth in advertising, althought “Pitiless,” “Endless” and “Senseless” work just as well.
This new thriller from the sarcastically surnamed writer-director Tom Botchii (real name Tom Botchii Skowronski of “Artik” fame) begins in uninteresting mystery, strains to become a revenge thriller “about something” and never gets out of its own way.
So bloody that everything else — logic, reason, rationale and “Who do we root for?” quandary is throughly botched — its 93 minutes pass by like bleeding out from screwdriver puncture wounds — excruciatingly.
But hey, they shot it in Lewiston, Idaho, so good on them for not filming overfilmed Greater LA, even if the locations are as generically North American as one could imagine.

Career bit player and Lewiston native Jeffrey Decker stars as a homeless man we meet in his car, bearded, shivering and listening over and over again to a voice mail from his significant other.
He has no enthusiasm for the sign-spinning work he does to feed himself and gas up his ’80s Chevy. But if woman, man or child among us ever relishes anything as much as this character loves his cigarettes — long, theatrical, stair-at-the-stars drags of ecstacy — we can count ourselves blessed.
There’s this Asian techie (Shuhei Kinoshita) pounding away at his laptop, doing something we assume is sketchy just by the “ACCESS DENIED” screens he keeps bumping into and the frantic calls he takes suggesting urgency of some sort or other.
That man-bunned stranger, seen in smoky silhoutte through the opaque window on his door, ringing the bell of his designer McMansion makes him wary. And not just because the guy’s smoking and seems to be making up his “How we can help cut your energy bill” pitch on the fly.
Next thing our techie knows, shotgun blasts are knocking out the lock (Not the, uh GLASS) and a crazed, dirty beardo homeless guy has stormed in, firing away at him as he flees and cries “STOP! Why are you doing this?”
Jun, as the credits name him, fights for his PC and his life. He wins one and loses the other. But tracking his laptop and homeless thug “Teddy” with his phone turns out to be a mistake.
He’s caught, beaten and bloodied some more. And that’s how Jun learns the beef this crazed, wronged man has with him — identity theft, financial fraud, etc.
Threats and torture over access to that laptop ensue, along with one man listing the wrongs he’s been done as he puts his hostage through all this.
Wait’ll you get a load of what the writer-director thinks is the card our hostage would play.
The dialogue isn’t much, and the logic — fleeing a fight you’ve just won with a killer rather than finishing him off or calling the cops, etc. — doesn’t stand up to any scrutiny.
The set-piece fights, which involve Kinoshita screaming and charging his tormentor and the tormentor played by Decker stalking him with wounded, bloody-minded resolve are visceral enough to come off. Decker and Kinoshita are better than the screenplay.
A throw-down at a gas-station climaxes with a brutal brawl on the hood of a bystander’s car going through an automatic car wash. Amusingly, the car-wash owners feel the need to do an Idaho do-si-do video (“Roggers (sic) Car Wash”) that plays in front of the car being washed and behind all the mayhem the antagonists and the bystander/car owner go through. Not bad.
The rest? Not good.
Perhaps the good folks at Rogers Motors and Car Wash read the script and opted to get their name misspelled. Smart move.

Rating: R, graphic violence, smoking, profanity
Cast: Jeffrey Decker, Shuhei Kinoshita
Credits:Scripted and directed by Tom Botchii.. A Saban Entertainment release.
Running time: 1:34
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Entertainment
Inga Ibsdotter Lilleaas breaks out in ‘Sentimental Value.’ But she isn’t interested in fame
One of the most moving scenes in Joachim Trier’s “Sentimental Value” happens near the end. During an intense moment between sisters Nora (Renate Reinsve) and Agnes (Inga Ibsdotter Lilleaas), who have both had to reckon with the unexpected return of their estranged father, Gustav (Stellan Skarsgård), Agnes suddenly tells Nora, “I love you.” In a family in which such direct, vulnerable declarations are rare, Agnes’ comment is both a shock and a catharsis.
The line wasn’t scripted or even discussed. Lilleaas was nervous about spontaneously saying it while filming. But it just came out.
“[In] Norwegian culture, we don’t talk so much about what we’re feeling,” explains Lilleaas, who lives in Oslo but is sitting in the Chateau Marmont lounge on a rainy afternoon in mid-November. If the script had contained that “I love you” line, she says, “It would’ve been like, ‘What? I would never say that. That’s too much.’ But because it came out of a genuine feeling in the moment — I don’t know how to describe it, but it was what I felt like I would want to say, and what I would want my own sister to know.”
Since its Cannes premiere, “Sentimental Value” has been lauded for such scenes, which underline the subtle force of this intelligent tearjerker about a frayed family trying to repair itself. And the film’s breakthrough performance belongs to the 36-year-old Lilleaas, who has worked steadily in Norway but not often garnered international attention.
Touted as a possible supporting actress Oscar nominee, Lilleaas in person is reserved but thoughtful, someone who prefers observing the people around her rather than being in the spotlight. Fitting, then, that in “Sentimental Value” she plays the quiet, levelheaded sister serving as the mediator between impulsive Nora and egotistical Gustav. Lilleaas has become quite adept at doing a lot while seemingly doing very little.
“In acting school, some of the best characters I did were mute,” she notes. “They couldn’t express language, but they were very expressive. It was freeing to not have a voice. Agnes, she’s present a lot of the time but doesn’t necessarily have that many lines. To me, that’s freedom — the [dialogue] very often comes in the way of that.”
Inga Ibsdotter Lilleaas in “Sentimental Value.”
(Kasper Tuxen)
Lilleaas hadn’t met Trier before her audition, but they instantly bonded over the challenges of raising young kids. And she sparked to the script’s examination of parents and children. Unlike restless Nora, Agnes is married with a son, able to view her deeply flawed dad from the vantage point of both a daughter and mother. Lilleaas shares her character’s sympathy for the inability of different generations to connect.
“A lot of parents and children’s relationships stop at a point,” she says. “It doesn’t evolve like a romantic relationship, [where] the mindset is to grow together. With families, it’s ‘You’re the child, I’m the parent.’ But you have to grow together and accept each other. And that’s difficult.”
Spend time with Lilleaas and you’ll notice she discusses acting in terms of human behavior rather than technique. In fact, she initially studied psychology. “I’ve always been interested in the [experience] of being alive,” she says. “Tremendous grief is very painful, but you can only experience that if you have great love. I’ve tried the more psychological approach of studying people, but it wasn’t what I wanted. Acting is the perfect medium for me to explore life.”
Other out-of-towners might be disappointed to arrive in sunny Southern California only to be greeted by storm clouds, but Lilleaas is sanguine about the situation. “I could have been at the beach, but it’s fine,” she says, amused, looking out the nearby windows. “I can go to the movies — it’s perfect movie weather.”
Inga Ibsdotter Lilleaas. (Evelyn Freja / For The Times)
Her measured response to both her Hollywood ascension and a rainy forecast speak to her generally unfussed demeanor. During our conversation, Lilleaas’ candor and lack of vanity are striking. How often does a rising star talk about being happy when a filmmaker gives her fewer lines? Or fantasize about a life after acting?
“Some days I’ll be like, ‘I want to give it up. I want to have a small farm,’” she admits. “We lived on a farm and had horses and chickens when I grew up. I miss that. But at the same time, I need to be in an urban environment.”
She gives the matter more thought, sussing out her conflicted feelings. “Maybe as I grow older and have children, I feel this need to go back to something that’s familiar and safe,” she suggests. “I think that’s why I’m searching for small farms [online] — that’s, like, a dream thing. I need some dreams that they’re not reality — it’s a way to escape.”
Lilleaas may have decided against becoming a psychologist, but she’s always interrogating her motivations. This desire for a farm is her latest self-exploration, clarifying for her that she loves her profession but not the superficial trappings that accompany it.
“Ten years ago, this would maybe have been a dream, what’s happening now,” she says, gesturing at her swanky surroundings. “But you realize what you want to focus on and give value. I don’t necessarily want to give this that much value. I appreciate it and everything, but I don’t want to put my heart in it, because I know that it goes up and down and it’s not constant. I put my heart in this movie. Everything that comes after that? My heart can’t be in that.”
Movie Reviews
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